Prodigy
by Idiot Jed3
Summary: Three years after escaping from The Centre, the Prodigy subjects struggle to maintain their freedom while also attempting to uncover the truth about their identities and the mysterious organization that held them captive for so long.
1. 101 Reunion

The premiere episode of Prodigy...

**FILE ONE – Reunion**   
(Written by Vokal) 

FLASHBACKA still, desert night. The bright sky blankets a seemingly motionless desert scape. Camera CLOSES IN on the dry ground, an eerie blue colour from the large moon. The sound of heavy breathing, desperate gasps, can be heard. FOCUS on a girl's feet. Cut, bleeding, they run across the harsh ground. TILT UP TO REVEAL; 

YOUNG TRINITY ~ 16 years old ~ Female 

Frantic, desperate, she searches in the darkness, her breath forming mystic patterns in the cold air. She runs to an isolated, ring-barked tree. Suddenly, she is illuminated by the headlights of a black, unmarked van. Like a rabbit, she stands frozen in the beams of light. The car doors swing open and in SLO-MO, two men – sweepers- step out. Guns at hand, the men approach the terrified girl. 

CUT TO; 

TRINITY ~ 19 years old ~ Female 

Wakes up abruptly in her dishevelled bed. Her attractive face and long, dark brown hair are damp with sweat. Troubled by her nightmare, tears flow uninhibited down her pale face, as she brushes her hair back with trembling hands and glances at her alarm clock – 2:32 am. She turns onto her back and gazes at the ceiling, the blue glow of the digital clock transforming it into the desert sky. 

FLASHBACKApproximately 15 people run through the desert night, varying ages 16-23. They are wearing loose, white cotton pants and matching shirts resembling surgical scrubs. Camera CLOSES IN on; 

YOUNG JUSTIN ~ 23 years old ~ Male 

His faced is streaked with dirt and sweat, and he is clearly exhausted. He seems to call something out, but his voice is muffled by the sound of approaching vehicles. Car doors slamming are heard. 

Trinity rolls over onto her side in bed. She clutches a pillow, crying. 

FLASHBACKYOUNG JUSTIN runs to YOUNG TRINITY and pushes her to the ground as the sweepers fire their weapons. Gunfire is heard. 

Trinity cradles her legs to her chest, weeping openly as the gunfire seems to echo in the room. 

FLASHBACKCLOSE IN on feet running across desert sand. Gunfire is heard. A 20 year old woman falls to the ground, a dark pool of blood staining the back of her stark white clothing. She falls face down in the desert, the others turn back to help her. CLOSE IN on tattoo of the number 13 in middle of shot woman's lower back. TILT UP to faces of other escapees. They look up, as the sweepers close in on them. Turning to run, another girl is shot. The others run, panicked, for the shelter of nearby vegetation, while others run toward a network of gullies. 

FOCUS ON bare feet, that gradually transform into black boots running on a wet road. Camera moves up denim-clad legs to reveal; 

JUSTIN ~ 26 years old ~ Male 

Wearing a leather jacket and a serious, worried expression, he runs down a deserted alleyway, followed closely by 

MERCEDES ~ 24 years old ~ Female 

Also dressed in denim and leather, she seems equally afraid. 

The pair reach a wire fence. Justin begins to climb over, and as Mercedes reaches for the fence to join him, her jacket lifts up, and camera CLOSES IN on the numbers 05 tattooed in the centre her lower back. Justin has reached the other side of the fence, when suddenly; the sound of screeching tyres is heard. Mercedes, still climbing, turns to look back, to see 3 black, unmarked vehicles blocking the alley. Their headlights expose Mercedes and Justin. Two men step out of the car and draw their weapons. They fire. 

MERCEDES  
(turning to Justin)   
Just go 

JUSTIN   
I can't 

MERCEDES   
Warn the others 

She pushes her fingers through the fence, and Justin squeezes them affectionately, his eyes brimming with tears. 

MERECEDES   
I'll see you again 

JUSTIN   
(nodding sadly)  
Yeah 

Mercedes drops to the ground, turning aggressively to face her pursuers. Justin backs away slowly, reluctant to leave, before beginning to run. As he leaves, camera focuses in on numbers 06 tattooed in the centre of his lower back. 

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

Text On Screen:  
Centre 16 Helipad  
Salt Lake City, Utah 

It is early morning and a helicopter lands at the Centre 16 helipad, Salt Lake City, Utah. 

MISS MONROE ~ 26 years old ~ Female 

Steps out of the helicopter and onto the helipad. The wind blows her hair across her face. She is professionally dressed in a black suit and skirt. She seems annoyed. She looks up at the large, undecorated cement building with distaste. A thin band of dark green grass surrounds the building, contrasting the desert around it. 

Inside the building, Miss Monroe and entourage enter a foyer where they are greeted by 

CALVIN ~ Mid 50's ~ Male 

CALVIN  
Miss Monroe, we've been waiting for you 

He goes to touch her shoulder, but she shrugs him off, irritated 

MISS MONROE  
(answering sharply)  
Well, I like my beauty sleep. And like most normal people, I was asleep when you rang me at four o'clock in the morning. 

She sees the urgent expression on Calvin's face and sighs. It is clear they are old acquaintances. 

MISS MONROE  
Long time, no see Calvin, what's with the reunion? 

CALVIN  
(looking at all the people in the foyer)  
I think we should talk somewhere else. 

**Text On Screen:   
Level 4  
Centre 16  
Salt Lake City, Utah**

CUT TO; Miss Monroe looks out a window in Calvin's office, on level 4 of the building. Her eyes drift over the landscape, finally resting on a lone, ring-barked tree. It is the tree from Trinity's nightmare. 

CALVIN  
Are you familiar with Project Prodigy, Miss Monroe? 

Miss Monroe continues to stare out the window. Disinterested, she answers him. 

MISS MONROE  
Vaguely. Children, was it? Geniuses? From what I've heard, the project went bust. Defunct now isn't it? 

Exasperated, Calvin walks over to where Miss Monroe is standing, drawing her gaze to him. He motions for her to sit down at a chair in front of his desk. She sits. 

CALVIN  
Something like that yes. 

He goes to sit, changes his mind, and remains standing beside the desk. 

CALVIN  
Project Prodigy was the most . . . adventurous of our projects. 15 subjects, procured at a young age, were exposed to various chemicals and tests designed to enhance their intellect. Most, of course, were already highly intelligent, and so our role was more… guidance and dedication to the development and …use, of their gifts. 

He chooses his words carefully, in a conscious effort to make the program sound less unpleasant. 

CALVIN  
At its height, the project was a magnificent success. The subjects, and their talents – incredible. They had… They have the ability to become anyone, literally stepping into that persons mind. And their mental capacity, unequalled by even the most advanced computer. 

He sighs, reminiscing 

CALVIN  
The simulations we ran using the subjects allowed us to predict stock market changes and design a successful presidential campaign, among other things. 

Miss Monroe, seemingly uninterested, interjects 

MISS MONROE  
(unemotional)  
They were lab rats… 

CALVIN  
Test subjects, Miss Monroe. 

MISS MONROE  
So if the project was such a success, why is it now non-operational, and why haven't I heard more about it 

CALVIN  
We…we … lost the subjects 

MISS MONROE  
Lost? 

CALVIN  
Yes, three years ago, the subjects ran away. They planned a skilful escape and … 

MISS MONROE  
(sarcastically)  
Escaped?

CALVIN  
It would seem so 

MISS MONROE  
But if all this went down three years ago, why am I here now? 

CALVIN  
Ah.. 

He reaches into his desk drawer and produces two red folders. He stands, walks to Miss Monroe and places the folder on the desk in front of her. She opens it and inside it are profiles on Justin and Mercedes, complete with a photograph of them prior to the escape, and their subject number. In the corner of Justin's photo is the text 'PP - S06', and in Mercedes' 'PP - S05' (To view the profiles, click here) Miss Monroe looks at the photograph of Justin and has a FLASHBACK; 

YOUNG JUSTIN ~ 23 years old

lies in what seems a hospital bed. He looks extremely ill, and a cold sweat covers his face, his eyes staring blankly from pale skin, dark circles surrounding them. He tries to speak, but can not. 

JUSTIN  
(mouthing the words, not actually speaking)  
Help me 

Miss Monroe stares at the photograph, her face momentarily revealing a flicker of emotion. Concern perhaps? Calvin's voice shocks Miss Monroe back to the present 

CALVIN  
Miss Monroe, is something the matter? 

MISS MONROE  
No, is this supposed to mean something to me? 

CALVIN  
The night of the escape, we only managed to reclaim 3 of the original prodigies. Since then we've had an elite L&R team on the hunt for the other 10. 

MISS MONROE  
L&R? 

CALVIN  
Locate and retrieve. Last night, early this morning, they were tracking these two subjects. (he motions toward the profiles on the desk), and according to voice recorders, managed to retrieve at least one. 

MISS MONROE  
I still can not see my involvement in this situation. 

CALVIN  
(becoming somewhat aggravated)   
The sweepers went rogue Miss Monroe. The team retrieved the subject, only to offer her up for sale to the highest bidder. The consequences of this could prove disastrous. The centre has always prided itself on being … discreet. If the public, or worse still, the government, should get their hands on centre property, our technology, well, I can't even say… even the slightest hint of our existence to the public, well… 

MISS MONROE  
You can't even say… So…

CALVIN  
So The Triumvirate has ordered a new L&R team established, to recover the stolen property, and eliminate further threat from the rogue team. 

MISS MONROE  
And so I guess I drew the short straw? 

CALVIN  
You are one of our top behavioural experts, as well as a talented organiser… 

Miss Monroe seems cocky at this point, until… 

CALVIN  
However, I do sense you have an attitude problem 

MISS MONROE  
(irritated, offended)  
I do not have an attitude problem, I simply resent the fact that I am only two steps away from equalling YOU in rank around here, am overdue for a well deserved promotion, loathe this dry, Hicksville state, and am being forcefully demoted to some half-assed recovery team tracking botched science gremlins. 

CALVIN  
(seemingly unaware of her outburst)  
Against my advice, _they_ have decided you will head the new team, Miss Monroe. 

MISS MONROE  
(taken aback)  
Head. Oh. Like the boss. 

CALVIN  
You will be given the entire Prodigy wing at your resource and are being promoted to Director of Special Projects. 

Miss Monroe disguises her embarrassment. 

MISS MONROE  
Well, I still detest this state. 

CALVIN  
Make no mistake, Miss Monroe, this is not some 'half-assed' recovery team. The Triumvirate wants that subject reclaimed, as well as the others…and soon. 

MISS MONROE  
Give me one hour to get settled 

Miss Monroe turns to leave and walk out the door. 

Calvin glances at a photo on his desk of himself and Miss Monroe's father. They are wearing suits. 

CALVIN  
Oh, and Miss Monroe… 

She turns back slightly 

CALVIN  
I'm surprised you weren't more familiar with Project Prodigy, your father headed it for the 16 years it was in operation. It's how we met. 

MISS MONROE  
(feigning a smile)  
Well, my father and I were never really that close. 

She disappears out the door. Leaving Calvin alone in his office. He sits on the edge of his desk, pondering the conversation that has just taken place. He touches his chin, sighs, and gets up to close the door. 

CUT TO; Trinity stands in front of the bathroom mirror. Steam swirls through the enclosed room. The mirror is fogged. She stretches out and wipes a spot clear. Her hair is still slightly wet, she is wearing tight black pants and a dark purple shirt, not quite reaching the top of her hipster pants. She turns slightly to the side and examines her back in the mirror. A tattoo of the numbers 03 is exposed in the centre of her lower back. She attempts to pull the shirt down over it, to no avail. She sighs, and reaches for a long purple jacket with a faux fur collar 

Text On Screen:   
Las Vegas, Nevada 

Trinity walks out of a run-down apartment block. It is early morning. She pulls her jacket together at its front, an icy wind lifting her hair and chilling her skin. She looks around the crowded street carefully, before stepping fully out onto the sidewalk. 

**MUSICAL TRACK: '**Honestly OK' by Dido (Make sure you right click and open in a new window) (click here to listen) 

Cars drive down the road. Trinity looks about, frightened. She examines the face of each person that walks past her as she makes her way down the street. Searching for something. For what? She hugs herself, feeling cold. People on the street don't seem to notice the weather. Trinity seems frightened. She pulls her jacket closer to her body. She is so cold… yet the sun shines brightly, warmly upon the other people. She walks into a shop to escape the chill. A bell rings as she pushes the door open. Trinity walks over to a shelf. She nervously picks up a snow globe. It is the Statue of Liberty. She smiles as the snowflakes fall around the miniature monument. We hear the bell ring, signalling another person has entered the shop. Trinity turns to leave, and runs straight into Justin. He is much taller than her, and she stares, horrified, up at him.

They stare at each other for several moments, their eyes locked. Trinity speaks first, her voice barely a whisper 

TRINITY  
What do you want ? 

JUSTIN  
We need your help. Please, can we go somewhere to talk? 

TRINITY  
I think you've mistaken me for someone else. 

Justin reaches for Trinity's arm, she pulls away, but he grabs it anyway. Trinity winces, and then sees the urgency in Justin's eyes. 

JUSTIN  
Please? 

Trinity nods slowly. 

CUT TO; Trinity and Justin sit on the front of Justin's jeep, overlooking a canyon in the desert. They stare absently over landscape. 

**MUSICAL TRACK: **'My Oh My' by David Gray (click here to listen) 

JUSTIN  
Last night, Mercedes and I were being pursued by an L&R team, when she got captured. 

TRINITY  
Mercedes? 

JUSTIN  
Five 

TRINITY  
(smiling)  
Of course 

JUSTIN  
She's my sister, I need to get her back 

TRINITY  
Why do you need my help? You're a genius 

JUSTIN  
And you're an Empath as well as a genius. I need you to help me locate her. 

TRINITY  
She'll be at Centre 16, you know that. 

JUSTIN  
You don't understand, the team's gone rogue. The Centre's no longer in control of them. 

He pauses, obviously distressed 

JUSTIN  
She could be anywhere. Please, we haven't got much time; they're planning to sell her to the highest bidder

TRINITY  
And you know this how? 

JUSTIN  
Luke hacked into the Centre's mainframe. 

TRINITY  
Luke? 

JUSTIN  
Seven 

TRINITY  
(distant)  
He always was good with computers…  
You know the first thing I noticed after the escape, when we came out here, to the real world? 

Justin looks blank, not sure if he should answer the question.. 

TRINITY  
(continuing)  
People had names. No numbers, just names. Bill, George, Mandy, Sandra. 

JUSTIN  
Do you have a name now? 

TRINITY  
Trinity 

JUSTIN  
That's a number. 

TRINITY  
But it's my number. My name.  
(she pauses again)  
I'm not like you anymore. I just want to be normal. 

JUSTIN  
(slightly angry, or offended)  
You'll always be one of us. You're just like us. You can never be one of them 

TRINITY  
Yeah, maybe, but I can pretend. That's what we do right? Pretend? Names, and families and friends, and lives. You know I actually thought for a moment that this little reunion might have been about that. 

JUSTIN  
(not following her thought pattern)  
About what? 

TRINITY  
(laughing cynically)  
Family, friends. But turns out you want something. Just like them

JUSTIN  
Please, you're our only hope 

Trinity gets up off the jeep, she is upset, angry. She begins to walk away. 

TRINITY  
Well, find another one. I can't help. 

JUSTIN  
(yelling after her, as he gets up to follow)  
If you could just use your abilities to point us in the right direction, a name, anything. 

He is flustered, also becoming upset. Some memories are better left at rest. He reaches out to her, she pushes him away. 

JUSTIN  
You don't understand… 

Trinity is now crying, she is almost hysterical. 

TRINITY  
No _you_ don't understand! I buried all that stuff when we left that place. I don't want to be an empath anymore. 

JUSTIN  
Mercedes is in trouble 

TRINITY  
(yelling at him across the desert)  
You think I don't know that? I _feel_ her trouble, her fear. She's an empath too, remember, we're connected. 

JUSTIN  
Then why won't you help her? 

TRINITY  
Because I have a normal life now. Well, as normal as it can get anyway. And I don't want to go back there. Ever. 

JUSTIN  
You won't be going back there. Trinity… 

TRINITY  
(crying)  
Yes I will, I'll be back there in my mind. And I can't do that. My mind might be able to take it but my heart can't. 

Trinity runs away through the desert. Justin goes to follow her, but changes his mind, and returns to his jeep. 

CUT TO; Prodigy Wing, Centre 16; Miss Monroe's Office. Her personal belongings are being moved into the office and unpacked. 

**Text On Screen:   
Prodigy Wing  
Centre 16  
Miss Monroe's Office**

Miss Monroe arranges a pen stand on her desk, carefully aligning and re-aligning it. The calendar on her desk indicates it is June, 2001. Satisfied with the pen stand, she looks up to see; 

JC ~ 23 Years old ~ Male 

Dressed in jeans and a T'Shirt, with spiky, unkempt hair, he smiles at her. She gives him an intimidating, grim, 'smile'. He holds up his hands in mock defence. Calvin enters. 

CALVIN  
Watch this one, JC, her bite is actually worse than her bark. 

An assistant goes to leave them in private.

MISS MONROE  
(to the assistant as she leaves)  
Don't forget that air conditioner. 

CALVIN  
(to Miss Monroe)  
What is wrong, Miss Monroe? 

MISS MONROE  
Besides the fact that my 'office' is a human-sized microwave? Nothing. 

CALVIN  
(indicating toward JC)  
I'd like you to meet JC. He is our tech advisor. 

MISS MONROE  
'Our' tech advisor? 

CALVIN  
Yes, Mr JC here is a whiz with the computers. He will be joining you, myself and Roschelle, one of the scientists that oversaw Project Prodigy, I think you met her when you were younger, yes? on the L&R team.  
(wryly)  
We will, of course, also be blessed with the presence of three mandatory sweepers to help, 'bring in' the escaped subjects. 

MISS MONROE  
(uninterested)  
Right, great to meet you ah, um.. JC was it, good to have you on the team?  
(turning back to Calvin)  
And when will we be 'blessed by the presence' of Roschelle? 

At that exact moment; 

ROSCHELLE ~ Mid 40's ~ Female 

Walks through the door

JC  
Speak of the devil…. 

ROSCHELLE  
Hardly the devil, JC

JC  
Personal opinion ma'am 

They smile at each other. The playful banter obviously a regular action. 

ROSCHELLE  
Calvin, it's been a long time since I've seen you on this level. Are the upper levels proving too breezy for you, huh? 

CALVIN  
I am not here by choice, believe me 

MISS MONROE  
Well, looks like none of us are so… 

JC  
Let's make the most of it? 

MISS MONROE  
No, let's get the hell job done and go back to where we belong 

ROSCHELLE  
You're forgetting, I do belong down here in Hell  
(She looks at Calvin, insinuating with her eyes that he does too.)  
Some of us can never truly belong anywhere else.

CUT TO; Abandoned warehouse. Justin enters the warehouse through a broken door. In the far corner of the failing building; 

LUKE ~ 23 years old ~ Male 

and 

DINA ~ 21 Years old ~ Female 

are working at a makeshift computer desk of old barrels and board. They have a variety of tech equipment lying about. They stand when Justin enters, expectant. But look dejected when he returns without Trinity. 

Luke has light skin, blonde hair and blue eyes, contrasting Dina's dark skin and equally dark hair and eyes. Justin looks at them sadly, but recomposes himself. He approaches them slowly. 

LUKE  
She didn't…

JUSTIN  
She wouldn't

LUKE  
What do we do now? 

JUSTIN  
We have to find another way…  
(he thinks for a moment)  
We need a report on all unusual traffic in Las Vegas over the last few days. We may also need to run an analysis on that paint sample. The bullet casings are probably untraceable, but we can try. What else do we have? 

DINA  
Nothing, Justin. Nothing… Maybe you could try again with three. 

JUSTIN  
Trinity, her name is Trinity. And I'm sorry, but I don't think it's gonna work out like we had hoped. 

LUKE  
Don't say that, man. We still have time. 

Justin looks at his watch. 11:54am 

JUSTIN  
Not much time Luke. Not enough… 

CUT TO; Casino, Las Vegas. Trinity is playing Black Jack. The dealer shuffles the cards.

CLOSE IN on Trinity's face, as she watches the dealers hands and the pack he is shuffling. Smiling, she watches him deal.

CUT TO; Trinity walks down a line of poker machines. She watches each one closely. Selects one and inserts a coin. She immediately wins. As the coins fall into her cup, they sound like explosions, like gunfire. Trinity has a FLASHBACK to the escape from Centre 16. The gunfire echoes in her head. She sees the girls shot. Feeling a pain in her back, Trinity is shocked into reality. The cup falls from her hands, and coins go everywhere. She drops to the ground, a pained expression on her face. She hugs herself, shivering. A cold sweat develops on her face, and her lips turn blue. She lies on the ground, trembling, clutching her jacket to her quivering body. 

TRINITY  
(murmuring)  
No... no… no… 

CUT TO; Dark cell. Bars. No Floor, just dirt. Mercedes lies on the cold floor, trembling. She clutches her legs to her chest. She too, is covered in a cold sweat, her face pale, eyes slightly bloodshot. She has been drugged and gagged. Camera CLOSES IN on her tattoo. 

MERCEDES  
(murmuring)  
No… no… no… 

Footsteps are heard approaching. Mercedes opens her eyes to see, through blurred vision, a pair of black boots. 

ROGUE SWEEPER 1  
The drugs are wearing off, Cap.

CAPTAIN (off screen, Australian accent)  
Give her some more. We can't let the bitch wake up. They're slippery bastards this lot… 

Mercedes closes her eyes again. A tear rolls down her cheek. 

CUT TO; Miss Monroe's Office. Miss Monroe is alone. She drags her hand across her smooth desk. Sitting at her chair, she leans forward onto the desk, and clasps her head in her hands. She experiences a FLASHBACK 

MISS MONROE'S FATHER ~ 53 years old ~ Male 

sits in the same desk she is now at. He is busy writing. 

YOUNG MISS MONROE ~ 23 years old ~ Female 

enters the office. 

YOUNG MISS MONROE  
Daddy I've got my preliminary results back. I'm okay. 

MISS MONROE'S FATHER  
(not looking up from paper)  
That's great honey. Still, I'd like Roschelle to have a look at them. Why don't you take them down to her now? 

Young Miss Monroe looks dejected, upset. She smiles a weak smile. 

YOUNG MISS MONROE  
(Softly)  
Yes Daddy 

She goes to walk out of the office, but her father's voice turns her back. 

MISS MONROE'S FATHER  
Oh and sweetie… 

She looks back, hopeful, as he glances up from his work 

MISS MONROE'S FATHER  
Close the door for me on your way out? 

She looks away, disappointed, closes the door and leaves 

JC enters the office, stirring Miss Monroe from her flashback. 

JC  
I've got a track on that E-Mail account. If you're sure it's the one they'll deposit the money into, we should have an exact location at the time of transfer. 

MISS MONROE  
Not good enough …um… JC, we need that location now. If we wait until the transfer they would've already sold the subject. 

JC  
I'm not entirely sure, Miss Monroe. 

MISS MONROE  
How so? 

JC  
Well, there have been six transfers at regular intervals over the past 2 weeks. I think the team is being paid in instalments. 

MISS MONROE  
When's the next transfer due? 

JC  
8:30 pm 

MISS MONROE  
Great, that only gives us eight hours.  
(calling to her assistant)  
Rhoda!

RHODA enters the office. 

RHODA  
Yes Miss Monroe?

MISS MONROE  
Get me the sweepers on line 6, and tell machinery to bring a van around. 

Rhoda leaves, nodding. 

JC  
Where're we going? 

MISS MONROE  
Hunting 

CUT TO; Trinity's apartment. Sitting on her bed, Trinity leans against the window beside her bed. Her hair is dishevelled, and dark circles have developed underneath her eyes. She sniffles, sighs then turns to lie on her side, only to notice Luke standing in her doorway. 

LUKE  
Nice place. 

TRINITY  
It's a dump 

LUKE  
Funny, a Prodigy, in Las Vegas, of all places, living in a hole like this. 

He smiles, a warm, infectious smile. Trinity smiles back at him.

TRINITY  
Hello, Luke. 

Saying his name sounds unfamiliar, and she seems startled by her sudden use of it. 

LUKE  
Likewise, Trinity. 

TRINITY  
I know why you're here. But I can't. Do you understand? 

LUKE  
I understand. You don't want to feel like… like how you felt back at The Centre.  
But this isn't about that. This is about friends, this is about… family. Mercedes needs you Trinity, you can't walk away from her.

Luke is calm. This seems to make Trinity feel at ease. She does not get as emotional as when she was talking with Justin. Luke moves over and sits next to her. Keeping a certain distance. 

LUKE  
I can't even begin to imagine what it'll be like for you….difficult maybe, frightening, I don't know. But I know you Trinity, no amount of time can change that, nothing can, and I know you'll do the right thing, because you're a good person, and you want to help Mercedes, there's just a part of you… 

TRINITY  
Holding me back 

She looks up at him, fear and sadness combining to transform her face to a vision of utter despair. 

TRINITY  
(softly, fearful)  
I'll do it. But I can't promise anything, I haven't done it in a while. 

Luke smiles at her, relieved 

LUKE  
Is there anyone you need to call to let them know you'll be gone for a while? 

TRINITY  
No, no-one important.

LUKE  
Okay then, we should go 

He helps her up, she moves slowly to the door, picks up her jacket, takes one last look around, and leaves. Luke follows. 

CUT TO; Dark cell. Mercedes lies on the floor. MERCEDES' Point Of View; The boots step over her, and camera TILTS UP to reveal ROGUE SWEEPER 1 standing over her. He pulls Mercedes to her feet. She can barely stand, and stumbles. Rogue Sweeper 1 forces her out the cell door. She is blindfolded, and the screen goes black. 

CAPTAIN  
Move her to the van, I have a feeling our location's about to be breached 

ROGUE SWEEPER 1  
Sir? 

CAPTAIN  
Just do it would you? 

ROGUE SWEEPER 1  
Yes Sir 

CUT TO; Abandoned warehouse. Luke enters with Trinity. Dina is at the laptop, and Justin sits on an overturned fuel drum, head in hands. They look up when Luke and Trinity enter. 

TRINITY  
(looking toward Dina)  
Two? 

DINA  
It's Dina now. 

TRINITY  
Right, Dina. 

Dina stands and moves toward Trinity. Justin also stands, uncertain 

DINA  
Trinity, right? 

TRINITY  
Yeah 

Dina walks over to Trinity and hugs her. Trinity is uneasy at first, but hugs her back. Luke smiles another one of his classic smiles, and Justin moves beside him. 

LUKE  
(to no-one in particular)  
What a reunion huh? The A team is back in business. Those rogues are not gonna know what hit 'em.

Dina looks at Luke, then at Justin and Trinity 

DINA  
There is another problem. Centre 16 has just gained itself a new L&R team. They've even flown in some specialist from New York to head it. Word on the website is that they've got the entire Prodigy wing now. 

LUKE  
So it would seem that The Centre has just got back in business too. What do we do? 

Justin looks to Luke, disapprovingly, it is clear that he is the leader of the three. 

JUSTIN  
We are not backing your personal vendetta against Centre 16, Luke. This is about getting Mercie back. So we don't _do_ anything, but stay below radar and avoid them. We've been up against L&R teams before. It's nothing new. That new team's got a better chance of catching smallpox than catching us. 

DINA  
Then why am I still afraid? 

Text On Screen:   
Public Helipad  
Las Vegas 

CUT TO; Public Helipad, Las Vegas. Mid-afternoon. Miss Monroe waits in a van on the helipad. She stares at the open folder in her lap containing Justin's profile. She is looking at the photo of Justin and has another FLASHBACK 

YOUNG MISS MONROE ~ 23 years old 

walks listlessly into the medical wing of Centre 16. Nurses bustle past her, patients are wheeled in on stretchers. She goes to the nurse's station, and waits for a few seconds. The wall calendar shows February 1998. She sees a doctor walk into a room labelled 'Private'. Camera CLOSES IN on this sign. The door pushes open, and Young Miss Monroe walks in. She sees a row of empty hospital beds, and hears gasping coming from behind a curtain. She opens the curtain, and sees an old man, desperate for breath. He grabs her hand tightly. She squeals softly, and runs deeper into the room, where she comes to another door, unlabelled. 

YOUNG MISS MONROE  
Doctor Roschelle? Roschelle 

She opens the door. In the lone hospital bed lays a man, approximately the same age as herself. It is Justin. He looks at her, sadly, angrily and desperately at the same time. He tries to lift his arms, but he is restrained. He looks up at her, his eyes pleading. 

YOUNG JUSTIN ~ 23 years old  
(mouthing, not actually speaking)  
Help Me

YOUNG MISS MONROE  
I'm not a doctor. 

YOUNG JUSTIN  
(speaking this time, his voice barely a whisper, it is hoarse and husky)  
Please 

A cold sweat sits on his face. Camera CLOSES IN on sweat above top lip. He moves his mouth again, but he is unable to speak. He struggles weakly against his restraints. Suddenly, Roschelle enters 

ROSCHELLE  
You shouldn't be in here, why are you in here? 

Slowly, and without taking her eyes of Young Justin, Young Miss Monroe raises a medical envelope to Roschelle. 

YOUNG MISS MONROE  
I got my results. Daddy wants you to look at them. 

ROSCHELLE  
(looking back at Justin and then motioning Young Miss Monroe away)  
Let's take a look at these outside. There's better light out there. 

A car door slams, and Miss Monroe stirs from her memory and looks up to see Roschelle sit in the seat across from her. Roschelle sees the files in Miss Monroe's lap. 

ROSCHELLE  
Remember him do you? 

MISS MONROE  
What do you mean? 

ROSCHELLE  
Well, you two have met 

MISS MONROE  
(lying)  
I mustn't remember, I don't know what you're talking about. 

ROSCHELLE  
(lost in thought, distant, almost to herself)  
There are some things you just never forget.  
(she sighs, shrugging, almost trying to dislodge a bad memory)  
We did what we had to do, we did our job 

Miss Monroe looks at Roschelle, not revealing any emotion 

MISS MONROE  
Is that how you justify it? 

Roschelle turns to Miss Monroe 

ROSCHELLE  
And how will you justify yourself, Miss Monroe, after what you will have to do? 

MISS MONROE  
I'm not going to justify myself, I don't need to, I won't. 

ROSCHELLE  
And that's exactly what I used to think… 

JC jumps hurriedly into the van. He seems excited 

JC  
Wow, this is my first big field operation, actually, it's my first _field_ operation period. I've always been stuck with some desk job 

MISS MONROE  
If only we all could be so lucky… 

Before sitting in the van himself, Calvin introduces the Sweepers to Miss Monroe, Roschelle and JC. 

CALVIN  
This is Weston, ex-military, bodyguard to the stars, any job that carries, he's done it. 

Calvin motions to 

WESTON ~ Early 40's ~ Male 

Weston nods toward the others 

CALVIN  
Haley is also, ex-military 

He describes as 

HALEY ~ Late 20's ~ Female 

climbs into the van 

CALVIN  
While Porter here used to be a butcher, of the animal kind. 

PORTER ~ Mid 30's ~ Male 

follows Haley and Weston into the van. 

When everyone is in, the van backs out of the car park, and drives off. 

CUT TO; Justin's Jeep, open road. Justin and Dina sit in the front of the jeep, while Trinity sits in the back with the equipment, and Luke follows on his motorbike. Trinity is clutching clues from the abduction site, hopelessly trying to pick up a feeling, a clue. Nothing is eventuating.

TRINITY  
(calling to Justin and Dina over the roar of the wind)  
Nothing's happening 

JUSTIN  
Try harder 

TRINITY  
I can't, it's just not working. 

She drops the bag full of bullet casings, and they fall to the bottom of the jeep. She reaches for it, but accidentally touches a photograph of Mercedes. She has a VISION of Sweeper 1's black boots. She is in a cell, a room. The room sways. Trinity begins to feel dizzy. 

Dina realizes that something is happening. Trinity looks up at her, as Dina reaches to catch her just before she passes out. 

DINA  
(to Justin, who is driving)  
Pull over 

CUT TO; Side of the road. Sunset. Trinity awakes, feeling dizzy. She looks up to see Justin, Dina and Luke standing above her. They move back to give her some air. 

TRINITY  
I know where she is, she's drugged, and she's hurt. We have to help her. 

She gets up to move, but is too weak 

DINA  
First, I think you need to rest 

Dina helps Trinity gently back to the makeshift pillow consisting of leather jackets.

Luke walks over to the jeep, sits on the front and lights a cigarette. He stares at the sunset. 

LUKE

(distant, sad)  
It was a long time…, between sunrise and sunset I mean. I think I saw a sunrise when I was 4, and a sunset when I was nine. The next one I saw was that first sunrise the morning after the escape. 

He pauses, contemplating, and the others stare at the sunset, listening intently yet spinning their own memories upon Luke's story.

LUKE  
Freedom is something that most people who have it take for granted, but something that not most people have. We're not going to let them take Mercies freedom. She is gonna see tomorrow's damn sunrise if it kills me. 

CUT TO; Inside Centre 16's L&R team's van. JC works on his computer, Weston and Calvin examine each other's guns, the other two sweepers stare mindlessly out the window, while Roschelle and Miss Monroe stare intently at each other. 

JC  
(suddenly)  
Right, I've got it!  
He shows Calvin a map on his laptop, a red dot blinks at the correct position. 

CALVIN  
ETA?

JC  
28 minutes. If we move fast.

JC prints a copy of the directions

CALVIN  
(handing directions to driver)  
You heard the boy… 

CUT TO; Rogue teams hideout. Run-down building amidst industrial warehouses.

Justin, Dina, Luke and Trinity pull up in jeep. They climb out, Luke pulls a gun from underneath his leather jacket. 

JUSTIN  
(looking at gun)  
What's that for! 

LUKE  
(sarcastic)  
Oh what this? Nothing really, because as soon as we walk in there and say "Hey we're the brainiac mistakes of science you've been chasing for the past 3 years", they're just gonna tremble at our feet and hope we forgive them… 

He smiles, a smile unlike the warming, friendly smile Trinity had become accustomed to. No, this time his smile was laced with venom, hatred and revenge. It was a sinister smile, and for some reason, she felt suddenly chilled. Trinity looks at Luke, with gun in hand, and unconsciously draws her jacket protectively around her. 

LUKE  
But they'll tremble.. 

Justin also sees a change in Luke, but it is change he is familiar with, and so he sighs disapprovingly, but knows that there is nothing he can do to stop him.

CUT TO; Luke kicks in the door, gun in hand, poised for action. The place is deserted, quieter than the still desert night. Trinity heads for the basement. Luke and Justin continue to look around. Trinity returns from the basement with a gag in her hand 

TRINITY  
(holding up gag)  
I know where they've gone. 

CUT TO; L&R team's van. The team look nervous, apart from Miss Monroe, who seems strangely calm. 

MISS MONROE  
This is my final promotion and ticket out of the sweat bucket state, so no-one fail on me okay? 

The team look disinterested; JC is engrossed in Mercedes' profile. 

JC  
What exactly is an empath? 

ROSCHELLE  
A person who can feel the emotions of others, through some sort of stimuli, usually personal belongings. We had 3 empaths in the Prodigy group. Subject 0-five there (she points to Mercies profile) being one of them. The most highly advanced was, however, subject 0-three. She also had the ability to sense others' feelings from great distances, and had been known to project emotion onto others as well. It was the best of them that got away that night. Pity. 

MISS MONROE  
(emerging from her own thoughts)  
Calvin, you said there were 15 subjects originally, that twelve escaped and three were recaptured, so why was the other team only attempting to track 10? 

CALVIN  
Sacrifices had to be made that night, Miss Monroe. To set an example, and to protect the secrecy… integrity of our organization. 

MISS MONROE  
(not horrified, just surprised)  
You killed your own subjects? 

CALVIN  
It was necessary, Miss Monroe, and my only regret is that we did not shoot them all… it would have saved us all this trouble. 

CUT TO; Private airstrip, outskirts of Las Vegas. The jeep pulls up outside, and the gang climb out. Two unmarked, black vans are parked out the front. 

CUT TO; Private airstrip, outskirts of Las Vegas. Night. Mercedes is bustled into an aircraft hangar by Rogue Sweeper 1. 

ROGUE SWEEPER 2  
We've only got another 14 minutes before we're millionaires. 

ROGUE SWEEPER 1  
Yeah, millionaires.

CAPTAIN  
(in shadows, identity concealed)  
Don't be too hasty you blokes. It's not over yet.

Luke walks into hangar, followed closely by Dina, Justin and Trinity. He points his gun toward the captain.

LUKE  
Yes it is, Captain. Hand over the girl. 

Sweeper 1 clutches Mercies tightly. She awakes fully, and comprehends her situation. 

CAPTAIN  
(sarcastically)  
What girl? 

Luke loads his gun, standing just a metre away from the captain.

The captain realizes he isn't bluffing. 

CAPTAIN  
Let her go. 

ROGUE SWEEPER 1  
But sir… 

CAPTAIN  
I said, let her go. 

The rogue sweepers release Mercedes, just as the L&R team bust through the door, all pointing guns except for JC and Roschelle. While the others are distracted, the captain slips away unnoticed.

Luke spins to face his new adversaries, as do the other prodigies. 

MISS MONROE  
(Yelling)  
Don't move! 

Luke has his gun focused directly at Miss Monroe. Dina and picks up one of the sweepers weapons. The rogue sweepers are 'collected' by Haley and Porter and, taken to the L&R team's van. The others remain frozen, staring at each other, in a stand-off position, with neither side showing signs of letting up. Justin looks quizzically at Miss Monroe, recognizing her. She sees his glance and looks away. 

CALVIN  
Look kids, either you come with us now, or when the sweepers get back we can take you home in body bags. It's up to you. 

Luke smiles the same cold smile as before. The hate and rage clear on his young face. 

LUKE  
Calvin old man, I see the years haven't been too kind to you. Though, you always were an ugly mongrel. 

Calvin stares back at Luke, no emotion on his face. Gun steady. The others look at each other, unsure what to do. Justin continues to stare at Miss Monroe. 

DINA  
What a pleasant family reunion. 

Trinity looks toward Justin, then motions with her eyes toward a group of petrol drums in the corner of the hangar. He seems to understand her plan. Justin looks at Luke. Unable to catch his view, Justin relays the plan to Luke in coded message. 

JUSTIN  
C, 21, 98, b, n, t, 43, quile, orthsap, 43. 

Luke seems surprised that Justin has used their childhood language. But still, his gaze is unwavering. Suddenly, and without warning, Luke throws his weapon to Justin, who catches it, and immediately shoots the fuel drums. An explosion rocks the hangar. The L&R team duck for cover, while the prodigies escape into the night. Framed by a wall of fire, Miss Monroe, Roschelle, Calvin, Weston and JC head back to their van. As they do so, Miss Monroe notices that one of the Rogue Team's vans is missing. 

MISS MONROE  
(to Calvin)  
There was someone else here tonight, and I don't mean another mere sweeper 

CALVIN  
I know. 

CUT TO; Ice-cream stand, sunrise. They gang eat hot waffles and ice-cream. They are happy, smiling and laughing. 

**MUSICAL TRACK: '**Ice-Cream' by Taxiride (click here to listen) 

LUKE  
(through a mouthful of waffles)  
The best thing about the outside world has got to be ice-cream 

DINA  
No way, Waffles and ice-cream! 

MERCEDES  
Pizza! 

JUSTIN  
So, Trinity, what time do you want us to take you home? 

The entire table goes silent 

TRINITY  
I don't know, I was kinda hoping it would be okay if I could hang out with you guys for a while longer…if that's okay. 

Everyone looks toward Justin. Quiet. He picks at his food, as if considering… 

JUSTIN  
(raising his head, a huge smile spread across his face)  
'course you can, just don't be ordering anything big, I am a man on a budget! 

They all laugh, and fall back into natural conversation, as though the years they had spent apart had not even occurred. 

LUKE  
Besides, man, you should see her crib. I wouldn't wanna be going back there either, the place doesn't even have wallpaper. 

MERCEDES  
Yeah but neither did our rooms at Centre 16 

LUKE  
No way, this plays makes The Centre seem like The Hilton, honestly.

Everyone laughs, and framed against a perfect sunrise, enjoys their breakfast.

CUT TO; Miss Monroe's Office, Centre 16, Salt Lake City, Utah.

Miss Monroe sits at her desk, an air conditioner on its highest level behind her. She is watching DSA tapes of the prodigies from when they were younger. 

They are in small rooms not unlike cells in a row, unable to see each other. Each one lies on their backs in their beds, calling out the gibberish she had heard Justin use last night. 

JC, Calvin and Roschelle enter the office. They shiver, and look at the air conditioner. 

MISS MONROE  
(not looking up from the screen)  
Good, you're here.

She stands, and turns her laptop round to face the others. The DSA's still playing. The others look at it questioningly, but before they get a chance a to voice their questions, Miss Monroe answers them.

MISS MONROE

They invented their own language. It's how they planned their escape. They couldn't discuss it openly because they were being watched and they rarely saw each other to scheme. So, at night, they would lie awake, calling to each other, in their own language.

CALVIN  
Right under our noses…

JC  
What does this mean?

MISS MONROE  
It means I am going to be here for a hell of a lot longer than I had hoped.

The team looks at each other, fully comprehending for the first time exactly what they are up against.

**THE END **

NEXT WEEK ON PRODIGY: Origin – Trinity struggles to deal with her empathic abilities, while a fellow Prodigy provides Justin and Mercedes with information on the whereabouts of their family that leads the gang back to Centre 16.


	2. 102 Origin

Following on from 'Reunion', the Prodigies must return to Centre 16 to obtain valuable information...

FILE TWO – Origin  
(Written by Vokal) 

WIDE on a building in Boston. CLOSE IN on the sign at entrance. 'Bell's Adoption Agency; Since 1975'. Morning. A man who we presume is, 

DR THEODORE MATHIS ~ Mid 50'S ~ Male 

because of the ID tag he is wearing, walks into the building. In the foyer, people greet him. He nods his acknowledgement, and walks hastily into the elevator. He presses the button for the top floor. He is carrying a briefcase. When the doors re-open at the top floor, he steps out of the elevator cautiously, and walks into his office, locking the door behind him. He walks hurriedly to the computer, turns it on, to a login screen, requesting a password. He looks around the room, searching. On the desk, a photo frame encasing a picture of himself and a little girl. He opens the frame, takes out the photo and reads the back. 'To Grandad, love Mandy'. He types 'Mandy' into the login screen. It works, and he is redirected to the mainframe. Accessing files, he inserts a blank CD into the CD re-writer. We see him access files in a folder entitled 'The Red Files'. He begins to copy them to the CD. 

CUT TO; Outside the building, Centre 16's L&R team pull up in two black, unmarked vans customary of the The Centre. Miss Monroe, Calvin, JC, Roschelle and the three sweepers make their way into the building. In the foyer, they look around. The sweepers approach the reception desk and talk to the receptionist about something. 

JC  
With all due respect, Miss Monroe, I'm not entirely sure the trace on the cell phone was correct. I mean, why would the subject be at an Adoption Agency?

MISS MONROE  
(sarcastically)  
Maybe he wants to hear the pitter-patter of little feet.

She sighs, becoming serious

MISS MONROE  
This agency has strong links to The Centre, my guess is there's information here our elusive subject needs. Information we can not let him get his grubby little prodigy fingers on.

Roschelle and Calvin look at each other knowingly. They obviously recognise and are familiar with this building. The team make their way to the elevator.

CUT TO; Dr Mathis' office. The CD has finished copying. Dr Mathis stands getting ready to leave, placing the CD in his breifcase. Suddenly, the office door opens and in steps the real Dr Mathis. The man behind the desk is an impostor.

DR MATHIS  
What.. who are you? Security!

The impostor collects his briefcase, then smashes a window, and climbs out onto a ledge. He opens his briefcase, collects a rope and throws it down the side of the building, before making his way along the edge carefully, stopping at an open window. He pushes in a weak screen, and climbs into the empty room. He replaces the screen.

CUT TO; The L&R team have heard the raucous; they arrive in Dr Mathis' office.

MISS MONROE  
What happened?

DR MATHIS  
(shaken)  
A man, me, an impostor, he climbed out the window. I think he's been accessing my files.  
(he motions toward the computer)

CALVIN  
(genuinely concerned)  
Which files?

DR MATHIS  
(nodding, seemingly understanding Calvin's concern)  
The Red Files

As the sweepers rush toward the smashed window he yells;

CALVIN  
Stop him, retrieve the files!

CUT TO; In the empty office, the impostor removes a synthetic face to reveal;

UNO ~ 23 years old ~ Male

He also removes a grey wig to expose dark black hair. He takes out contact lenses, to reveal black eyes as dark as his hair. He takes off his shirt, and as he does, camera CLOSES IN on tattoo of the numbers 01 in the centre of his lower back. He is a Prodigy Subject. He opens his briefcase. He pulls out a pair of overalls, gardener's shirt and a dirty, worn in cap. He pulls on the clothes, and disguises his face by pulling the cap down over his distinguishing eyes. He hears security guards approaching, places the CD under his cap, and exits the room, leaving his briefcase in the office.

CUT TO; The sweepers look out onto the ledge. They see the decoy rope.

WESTON  
He's gone down the building. He's got to be on the grounds.

The team run out of the office, and into the elevator.

CUT TO; Uno makes his way down the stairs. He exits through a maintenance door, onto the grounds. A ride-on mower awaits. He climbs on, and drives off, blending into the scenery, as the L&R team look hopelessly around the grounds. CLOSE IN on Uno's smile.

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

**Text On Screen:   
Science Department  
Prodigy Wing  
Centre 16  
Salt Lake City, Utah**

Miss Monroe, JC, Roschelle and Calvin are assembled in a laboratory. They have Uno's briefcase, it sits open on a lab bench, as Roschelle dusts for fingerprints. The contents of the briefcase lie enclosed in plastic bags on an adjoining bench.

MISS MONROE  
Can these fingerprints tell us anything?

ROSCHELLE  
No, not unless someone else has touched it. We already have this subjects print on file. He is a master of disguise and imitation, so his prints are pretty much the only clue we have to his true identity.

Calvin holds up a bag containing a piece of paper with an address written on it. 16, Macfeville Towers, Las Vegas.

CALVIN  
Well if they can't, this can. I say we get on the first flight to Las Vegas and sweep this address.

MISS MONROE  
It's not going to work, Calvin. The boy's a genius, he's not going to write down the address of one of his fellow escapees and leave it lying around so that we can find it. It's a lousy lead.

ROSCHELLE  
But it's our only lead. I say we follow up.

MISS MONROE  
Need I remind you of who is actually the boss around here?

CALVIN  
I am the administrator of this team, so technically, I am.

MISS MONROE  
Yes, but I am Director of Special Projects, and as this is a special project, I guess I am in charge, hey Calvin? 

ROSCHELLE  
Enough squabbling you pair. JC, get on the phone to Weston and the other sweepers, tell them to bring the helicopter around, we're heading to Las Vegas.

JC picks up the phone to dial. Miss Monroe doesn't seem pleased with the outcome, but decides to let it go, after all, at least she'd get out of Utah.

CUT TO; Night. Wide shot of run-down apartment block where Trinity lives. CLOSE IN on aluminium sign carelessly nailed to door; 'Macfeville Towers'. Trinity is carrying a bag of groceries, and humming to music in her head, she looks up at the security camera, smiles and waves, and is about to enter, when a man,

ROSS ~ 22 years old ~ Male

approaches her.

ROSS  
Trini, hey, glad I finally caught you; I haven't seen you for a few weeks. I was starting to worry.

Trinity turns toward him. She seems uneasy around him.

TRINITY  
Well, I've been busy.

ROSS  
(jokingly)  
Well, I was beginning to think you didn't love me anymore.

Trinity turns slightly away from him, her face down, eyes diverted.

TRINITY  
(serious)  
I don't love you, Ross

ROSS  
(taken aback)  
What? 

TRINITY  
I don't love you, please, I'm in a hurry.

She attempts to push past him.

ROSS  
I heard you Trinity, I just… I don't understand

TRINITY  
I've been doing some thinking, and I don't think we should see each other anymore. 

She turns fully away from him now, walks up to door, punches a code into the rusting key-pad and is let into the building. She pushes the door closed in Ross' face.

ROSS  
(yelling after her)  
But the wedding is in two months, Trini, please.

She rushes up into the building passing an elevator. Graffiti on the door lists the elevator as 'out of service'. She groans, and begins climbing the stairs. As she reaches the top, she trips a little and reaches for the railing. She has a vision of the L&R team climbing the very same stairs. She shrugs it off, and reaches the top. Trinity approaches her door, breathing heavy. She senses something is not right, but does not trust her instincts. She inserts a key, but then has a flash of Calvin picking the lock. She drops her bag of groceries. She backs away from the door, and turns to run down the hall, when she sees Porter at the end. He has a gun. She turns to run the other way, but is stopped by the arrival of Haley. Miss Monroe and Calvin come out of her apartment, followed by JC, Weston and Roschelle. Trinity turns, panicked, in all directions, she is trapped.

CUT TO; Phone booth, Boston, Night. It is raining, and Uno dials a number. He seems impatient. An aeroplane flies overhead.

CUT TO; Justin answers his cell phone. He is in his jeep, at the front of a cheesecake shop. He seems surprised to hear Uno's voice.

UNO  
Justin, it's me, there's been an accident. Three's location has been breached.

JUSTIN  
What? How?

UNO  
I'd already been tracking her when you asked me for her location, and stupidly wrote her address down. The new L&R team have it. They're heading there now, if you're in the area…

JUSTIN  
Yeah, I'm still in Vegas

UNO  
Please, give her a warning or something…. Also, there's something else… something I can't talk about over the phone, it's about you and Mercedes, and your parents. 

JUSTIN  
You know who our parents are?

UNO  
I'm flying in in ten minutes, please, I'll talk to you when I get there.

Uno hangs up the phone. He picks up a pilot's hat and places it on his head. A WIDE SHOT reveals he is wearing a pilot's uniform. He runs out in the rain toward the airport.

CUT TO; Dina and Mercedes climb into the jeep; they are carrying two cheesecakes. Justin throws Dina his cell phone.

JUSTIN  
Get on the phone to Luke, tell him Trinity's in trouble, and to meet us at her place. And Dina, tell him to be careful; the team could already be there.

Dina nods and begins to dial.

CUT TO; Trinity's apartment. She is trapped. Miss Monroe, Calvin and the sweepers aim their weapons carefully at her. She is unimaginably frightened, gasping for breath, and shaking all over. She looks around, desperately seeking a way out.

MISS MONROE  
All right, just get on your knees, put your hands behind your head, and nothing will happen to you.

Trinity, still shaking uncontrollably, gets down onto her knees at the top of the stairs, facing her captors. She slowly puts her hands behind her head, tears flowing down her cheeks. The L&R team look at each other, suddenly feeling as if they acted overly aggressive toward the trembling girl. JC seems particularly troubled. He watches the despair on Trinity's face, curious and concerned at the same time. Miss Monroe and Porter slowly walk closer to Trinity, who is till shaking violently and crying. Her head is down. She raises it, a wry smile crossing her face. She suddenly somersaults backwards down the stairs, rolling to the bottom. The sweepers open fire. Miss Monroe halts them as bullets bounce off steel and fly wildly around the enclosed hallway.

MISS MONROE  
(yelling at sweepers)  
Are you crazy? Do you want to kill us all?

Trinity lands on her feet at the bottom of the stairs. The L&R team run down to catch her. Trinity sprints to the door, pushing it open and running on to the sidewalk. She begins to run down the street when Luke pulls over to the sidewalk on his motorcycle. Trinity jumps on the back, and they speed down the street. The L&R team run onto the sidewalk, in time to see only taillights of Luke's motorcycle streaking down the street. Miss Monroe turns to the team, obviously angry.

MISS MONROE  
Weston, call in some cleaners, I want her entire apartment packed up and sent to Prodigy Wing. JC, see what you can do about getting those security videos. (she motions toward the security camera)

Miss Monroe shakes her head, disappointed, angry and quietly fuming.

MISS MONROE  
(almost to herself)  
Two in one day… I don't like to fail.

CUT TO; Abandoned warehouse. Luke, Justin, Dina and Mercedes sit together around a table made of overturned fuel drums and rotting board. Trinity sits away from them, lost in her own thoughts, staring out a window at the moon. The others realise something is wrong; they all look at each other, deciding who will talk to her. Luke gets up, carrying a plate, and heads toward her. He approaches her, offering her the plate.

LUKE  
Hey, Trinity, I've got an extra sized piece of melted cheesecake with your name on it.

Trinity looks up at him and smiles weakly, accepting the plate, and poking at the runny cheesecake with a spoon.

LUKE  
What's wrong? (he tries to cheer her up)  
Look, if it's about not being able to go back to your apartment, I wouldn't get too upset, cos that place was a bit of dump, I mean you said so yourself. I reckon it will be easy to find another place for you to live, way better than your last place. Hey, a new apartment might even come with luxuries like running water, and lights that actually work.

Trinity smiles weakly again and sighs. Luke senses it is a long story, and takes a seat next to her.

TRINITY  
Before the L&R team showed up, I ran into my fiancé…

Luke swallows hard, then chokes, obviously surprised by this information.

LUKE  
Fiancé?

TRINITY  
Ex-fiance. We broke up.

LUKE  
Oh..

TRINITY  
The things is.. (tears well in her eyes) now I feel so… so sad. It's like someone is pushing against my chest, and I can't breathe, I can't breathe, Luke.

Luke, still surprised by the fact that she has… had a fiancé, puts his arm around her uneasily, attempting to reassure her.

LUKE  
Well, it's only natural that you would be upset, I mean, if you were engaged.. then.. you would be.. would've been.. close.

TRINITY  
But that's just it, I'm not upset, I'm not hurting. This is Ross I'm feeling, his pain. How could he love me so much? He doesn't even know who I am, my origin, my real name. Hell, I don't even know my real name. And I hate that I hurt him so much. But I still can't feel sad myself. It's like I've got all these emotions inside of me, and none of them are really mine, or maybe they are, but I just can't tell, you know? I hate it, Luke, but I can't stop it. It never stops.

LUKE  
Maybe, in time, it might get better. Maybe you can learn to control it, like Mercie has.

TRINITY  
I don't want to learn to control it… I just want this out of me. I want to feel like me again.

She sniffles, and wipes her tears away with her hands.

TRINITY  
God, look at me. I am such a weak-ass. So much for girl power huh.

LUKE  
Sometimes it takes a braver man… girl, to cry

TRINITY  
Yeah.. (she smiles feebly)

LUKE  
So, you never told this, ah, Ross, who you really were?

TRINITY  
Yeah right, what was I gonna tell him? "Honey, I'm a chemically enhanced empath and genius who escaped from a secret agency who were exploiting my gifts for evil?"

LUKE  
And he never asked about your tattoo…

TRINITY  
He never saw my tattoo.

LUKE  
Not even when you were.. I mean… you were close, right?

TRINITY  
(mocking him, shocked)  
Luke!

LUKE  
(embarrassed)  
No, I just thought…

TRINITY  
Well, don't think about it, what were you doing thinking about it?

Luke is heavily embarrassed, as Trinity shrugs her shoulders, as if shaking off some dirty thought.

CUT TO; Morning. WIDE SHOT of Centre 16.

**Text On Screen:  
Prodigy Wing  
Centre 16  
Salt Lake City, Utah**

CUT TO; Large room in Prodigy wing of Centre 16. It is void of furniture, except for a large table in the centre of the room, covered in everything recovered from Trinity's apartment. JC, Calvin and Roschelle sift through the objects, including clothes, photos, food, toiletries etc… on the table. JC is very uncomfortable.

JC  
I feel like such a pervo, I mean, this is like, her entire life, and we're just sifting through it like evidence.

ROSCHELLE  
It is evidence JC. By examining the subject's belongings, we gain insight into her character, which will help us to understand her and her actions.

Calvin holds up a black thong, and he looks at JC speculatively. JC motions for him to put it down as Miss Monroe enters, annoyed, and wearing her characteristic scowl.

MISS MONROE  
We don't need to understand her, Roschelle, we need to locate and retrieve her.

ROSCHELLE  
And in order to do that we need to understand her. For example, at first sight, she seems somewhat of a scared, timid girl. Who would've guessed that she would have put up a fight, and escape seemingly effortlessly?

MISS MONROE  
Well, how could we know?

ROSCHELLE  
By understanding her. As a behavioural scientist I thought you would be particularly interested.

Miss Monroe raises her eyebrows, growing tired of the conversation. She turns to JC.

MISS MONROE  
JC, what about those security cam videos?

JC  
Oh.. yeah

He reaches into a brown paper bag and retrieves six videos.

JC  
I was able to get security videos from the last two weeks. Unusual, really, because they are normally overwritten every three days. Seems that this security guard had his own private collection…

MISS MONROE  
I don't want his life story, JC, just play the damn videos. 

JC inserts the video into a player that sits on the table. It begins, and the team watches closely. The video, which is black and white, without sound, begins with Trinity leaving the building, as in 'Reunion'.

MISS MONROE  
Who is she, Calvin?

Calvin watches closely.

CALVIN  
Subject 0-three. I believe. But it has been three years, she was just a girl back then.

JC  
Nothing else interesting happens for a while.  
(he fast forwards)  
Until now.

JC stops FF as Luke approaches the door of the apartment block. He sees the security camera, and lowers his head.

CALVIN  
Subject 0-seven.

MISS MONROE  
Well, we already knew they were collaborating. This is useless. What else have we got?

Calvin holds up a photo of Ross and Trinity. On the back is written 'To Trinity, with love always, Ross'

CALVIN  
Well, we know her alias is Trinity.  
(He replaces the photo, and picks up a bottle of perfume, spraying it into the air.)  
She wears white musk perfume…  
(he holds up a Creed CD)  
Listens to Creed…  
And her favourite colour is purple.  
(he motions round the table to the majority of purple coloured items)

MISS MONROE  
Useless. What do we know about this Ross character? Boyfriend?

JC, still watching the security videos, interjects…

JC  
Ex-boyfriend…

He forwards to Trinity waving at camera, and Ross approaching her, their fight, and her slamming the door in his face. The teams watches it closely.

ROSCHELLE  
Should we still make a visit to him anyway?

MISS MONROE  
No, I'm tired of following up dead links. We can do more here. JC, I want those tapes edited, relevant info only. Separate the footage of the female subject and the male subject. I want enlarged stills, and I want this photo enlarged too. (she points to the picture of Trinity and Ross)  
Calvin, I want you to organise 10 rooms in C-16 Storage, SubLevel-9, one for each of the subjects. I want this evidence moved, catalogued and displayed in the third vault, and the tape of the male, what is he, seven? Into the seventh vault. Let's go people, these runaways aren't going to catch themselves.

CUT TO; Abandoned warehouse. Trinity, Dina, Mercie, Luke and Justin lie sleeping in hammocks and makeshift beds. The door creaks open, groaning. In steps Uno. Justin awakes with a start. He stands and walks over to Uno.

JUSTIN  
(noticing Pilot's uniform)  
Uno, you're a pilot? 

Uno removes his jacket.

UNO  
Not anymore.

They embrace.

JUSTIN  
So, how's things? Still on your lone wolf quest to uncover the darkest secrets of Centre 16?

UNO  
Yeah, what about you? Protecting the little guy? Aiding the oppressed?

JUSTIN  
Not at the moment.

The others awake, and approach Uno and Justin.

TRINITY  
One?

UNO  
Yeah, it's Uno. How are you three?

TRINITY  
I'm all right. And it's Trinity.

She stands back from him, not sure if she should go any further. The others embrace him.

UNO  
Look, I've uncovered some information, about Justin and Mercie's parents, and about all our origins.

They move toward the makeshift table to talk. They all sit except for Uno.

UNO  
I can't stay for long, I just have to give you this. (he hands them a CD) I got it from an adoption agency in Boston, there's not much on it, I risked my neck for pretty much nothing, but there are references to Centre Archives, and there is the Red Files on there too, just info about us that we already know. I think the archives may contain your adoption records, Justin, and the identity of your and Mercie's parents. You see, we were all adopted by the centre through various agencies, making the entire situation look legit and legal but while the rest of us were stolen from our families by the Centre, and then falsely adopted, you and Mercie were actually given up for adoption, so there is a record of your biological parents.

MERCEDES  
So they didn't want us?

UNO  
I don't know Mercie, but I do know that the answers lie in those archives.

JUSTIN  
Then we have to get in there, somehow.

CUT TO; Miss Monroe's office. Miss Monroe sits in the chair behind her desk, head in hands. She is tired. She has a FLASHBACK

Her father sits at the same desk, writing.

YOUNG MISS MONROE ~ 18 years old enters. She is angry.

YOUNG MISS MONROE  
Daddy, you missed my graduation. You said you would be there. I was Valedictorian.

MR MONROE  
Not now, I'm busy.

YOUNG MISS MONROE  
You're always 'busy' or out of town or on the phone…

MR MONROE  
This is important!

YOUNG MISS MONROE  
(upset)  
What is it daddy? What is more important than you're own daughter?

MR MONROE  
Prodigy! Prodigy is more important! Are you satisfied?

YOUNG MISS MONROE  
I suppose I'll have to be.

MR MONROE  
Go now. I am extremely busy.

Young Miss Monroe leaves, dejected, depressed, and hateful toward Prodigy, whatever that is.

Miss Monroe is stirred by a knock at her door. Rhoda enters.

RHODA  
Mr Johanesson is here to see you, Miss Monroe.

Miss Monroe groans inwardly, rolling her eyes.

MISS MONROE  
Send him in

MR JOHANESSON ~ Early 70's ~ male

enters the office. Miss Monroe stands.

MISS MONROE  
Sir…

JOHANESSON  
Miss Monroe, I have been informed that you located two subjects today, but were unable to retrieve either.

MISS MONROE  
Yes sir, however…

JOHANESSON  
No need to explain, Miss Monroe, I am simply stopping by to make sure I haven't made the wrong decision in allowing you to head this project?

MISS MONROE  
No sir, I will retrieve those subjects, you have my word.

JOHANESSON  
Good… that is all…

He leaves, and Rhoda enters with another pot of coffee.

MISS MONROE  
(to Rhoda, but also to herself)  
I hate kissing ass.

CUT TO; Abandoned warehouse. Luke, Justin, Dina and Mercedes are preparing equipment, and placing it in large sports bags. Uno stands idly by.

UNO  
I don't think your plan will work Justin, it's too hastily prepared.

JUSTIN  
We don't have a choice, Uno. As soon as Centre 16 realises exactly what was in the files you stole, they'll destroy all evidence, and we'd be back where we started. Now you can either come with us, or get out of our way.

UNO  
Fine. If that's the way you want it. But remember, I warned you, you're walking toward your own demise.

DINA  
(to Uno)  
So you're not coming with us?

JUSTIN  
(angrily)  
No, Dina, that would be against the Uno, "I'm a lone investigator, cursed to work alone because of my poorly developed people skills and downright jackass attitude" code.

UNO  
Be careful.

Uno leaves. Mercedes looks round.

MERCEDES  
Where's Trinity?

LUKE  
She had to go do something before we leave…

CUT TO; Park bench. Trinity sits on a park bench, deep in thought. Ross approaches, cautiously, and sits down.

**MUSICAL TRACK: '**Fear' by Sarah McLaughlin ( right click and open in new window here to listen)

TRINITY  
Thanks for meeting me. I didn't think you were ever going to talk to me again.

ROSS  
I don't know why I should…

TRINITY  
Look, I know I was wiggy last night and I'm sorry, but…

ROSS  
Is it someone else?

TRINITY  
No, no…. it's … it's me.

ROSS  
Look, if this is about you being so young, I thought we'd talked about that.

TRINITY  
It's not that Ross, it's something else… I am leaving town in a few hours.

ROSS  
Oh

TRINITY  
I just, I just wanted to explain.

ROSS  
Explain that you don't love me?

TRINITY  
It's not that I don't love you, Ross, it's that I can't

ROSS  
Why not?

TRINITY  
I don't know how to. I just need to figure some things out.

ROSS  
(upset, tears in his eyes)  
If you need time, space, I can wait.

TRINITY  
I don't want you to wait, Ross. I want you to move on, I want you to be happy.

ROSS  
How can I be happy, without you?

TRINITY  
The pain will go away, and you'll meet someone who will love you like you deserved to be loved. That person isn't me. I'm sorry.

Trinity is also crying, feeling Ross' pain. Is she also upset herself? She gets up to leave, and walks away. Ross sits alone on the park bench. 

CUT TO; Centre 16, Miss Monroe's office. Miss Monroe sits behind her desk, tired. JC sits on a chair, half-dozing in the corner. Roschelle is looking through photos of Luke and Trinity from the security camera videos. Calvin enters, stirring them all from their private thoughts. 

CALVIN  
Right, we know what information was taken from The Red Files at Bell's. The most important thing is a reference to one of our own centre 16 archives. 

MISS MONROE  
What's in the archive?

CALVIN  
I don't know. But we can't let the subjects get it. 

ROSCHELLE  
They won't come here to get it, what they went through… as children… they wouldn't come back here.

MISS MONROE  
They might, so we've got to be prepared. I have a plan.

CUT TO; Sunset. Justin's Jeep, parked out front of a gas station. Luke and Trinity sit alone in the jeep, while Justin, Dina and Mercedes are in the gas station, purchasing supplies. Luke is asleep, and obviously having horrific nightmares. He stirs, groans, mutters and shakes violently. Trinity wakes from her sleep. She leans over toward him and touches him on his upper back. She winces, pained by his feelings, and has a VISION

YOUNG LUKE ~ 19 years old

is strapped face down on an operation table, his face sits in a hole in the table, and you can see a pained expression on his face from underneath the table. He bites down hard on lip. YOUNG ROSCHELLE ~ 40 years old, stands over him, bloodied scalpel in hand. She turns to Calvin, who is observing from a corner.

YOUNG ROSCHELLE  
Calvin, are you sure we can't do this with anaesthetic?

CALVIN  
Yes, the anaesthetic would affect the results. Please, continue.

Roschelle closes her eyes, takes a deep breath, as if composing herself, and continues to cut a large 'T' shape into Young Luke's back, stretching from shoulder to shoulder and half way down his spine. Young Luke screams, tears welling in his eyes. He bites his lip, and it begins to bleed.

Trinity is shocked by her vision, she shakes Luke gently, to wake him up. Luke wakes with a start, grabbing Trinity's wrist with his hand. His other hand slips around her neck, he is choking her.

TRINITY  
(gasping for breath)  
Luke, Luke it's me, you were dreaming.

Luke continues to choke her, his eyes clouded with rage. Eventually he realises what he is doing, and releases Trinity. He gets out of the jeep, and out into the desert, where he breaths deeply, trying to calm himself down. Trinity, shocked, also steps out of the jeep and heads toward him.

LUKE  
(screaming at Trinity)  
Get back, stay away from me

TRINITY  
(soothingly, as she approaches Luke and puts her arms around him)  
Shhh… it's okay, it' s okay.

Luke drops to his knees, sobbing, crying. Trinity hugs him to her, almost cradling him.

TRINITY  
Shhh… it's okay Luke.

LUKE  
So I guess now you know?

TRINITY  
Know what?

LUKE  
The origin of my hate. They were trying to see if our nerves transmitted information to our brains faster because we were prodigies. I was just … They should not have done that… I didn't belong there.

TRINITY  
None of us did…

LUKE  
I don't think I can go back there…

TRINITY  
You don't have to, it's alright.

CUT TO; WIDE SHOT on exterior of Centre 16, late night. Justin's Jeep drives past slowly, before parking behind the nearby bushes. Trinity sees the ring-barked tree, and has a flashback of running past it during the escape. Dina, Mercedes, Justin and Trinity get out of the Jeep. They are all dressed in black. Luke moves to get his bag, and takes out a laptop. He fits a small digital locater to Justin's shirt.

LUKE  
I'll be able to monitor your position with this digital locator. And communicate with you through this.

He hands Justin and earpiece. Justin puts it in.

LUKE  
Good luck.

They move out, running low to the ground. When they reach the building, they climb a flight of stairs, to the fire escape. Trinity climbs through a window, and then opens the fire escape door. They are inside.

DINA  
That was easy

JUSTIN  
Too easy, be on guard.

Back in the jeep, Luke has a map of Centre 16 on his Laptop. A blinking red dot indicates where the others are.

LUKE  
(to Justin through a headset)  
Take a left, there should be two doors directly in front of you.

The prodigies reach the two doors.

LUKE  
(to Justin through a headset)  
Take the one on your right, and go down the stairs to the very last floor. This should be sub-level 4.

The prodigies run hurriedly, yet quietly down the long stairway. They come to a large metal door with 'Sub Level 4' painted across it in large red letters.

LUKE  
(to Justin through a headset)  
Go down the hall until you reach the archive room.

The prodigies reach the door labelled 'Centre 16 Archives' It has a keypad out the front, they need a code.

LUKE  
(to Justin through a headset)  
the code is 13678429

The door opens

LUKE  
(to Justin through a headset)  
Okay, now we're looking for C16A twenty thirty-two, that's 2032.

The prodigies walk down a long hall that's walls are lined with numbered sliding metal drawers of varying sizes. It is dark, and they use flashlights to see the numbers. Dina reaches the archive they were searching for.

DINA  
Over here

The others run over to where she is. Mercedes takes out a lock pick. She inserts it into the keyhole.

MERCEDES  
I've got it

She slides the drawer out. There is a metal box inside. She takes it out carefully. Suddenly, all the lights turn on, and standing at the only entrance is the L&R team, weapons drawn.

MISS MONROE  
And I thought you were supposed to be geniuses?

The prodigies stand, realising they are trapped, and raise their hands in the air. Weston and Haley pat them down, searching for weapons. Porter pulls the earpiece from Justin's ear. The prodigies stare, helpless, at their captors.

LUKE  
(to Justin through a headset)  
Justin, what's wrong, you should be moving by now, Justin?

He turns to the back of the jeep and collects a bag. He begins to pack it with equipment, including his laptop, rope, and a gun. He turns back to the front to see Mr Johanesson standing in front of the jeep. Luke gasps.

CUT TO; Row of barred cells in Centre 16. The sweepers direct Mercedes, Justin, Trinity and Dina into a cell each. Dina sits calmly toward the back of her cell, Trinity sits head in hands while Justin and Mercedes hold hands through the bars. They are all silent. Miss Monroe paces in front of the cells. The sweepers stand guard. Calvin is the only other person in the vicinity. He leans against the wall opposite the cells.

MISS MONROE  
What is so important that all of you would risk capture for? What is in that archive?

DINA  
It's your archive, you figure it out.

Miss Monroe turns to Calvin.

MISS MONROE  
Calvin, I want that archive relocated to my office, and I want it opened.

JUSTIN  
(to Calvin)  
Taking orders are we now old man?

CALVIN  
(ignoring Justin's remark, but not happy about being ordered around)  
Very well Miss Monroe.

Calvin leaves. Justin turns to look at Miss Monroe

JUSTIN  
Monroe hey? You're not old Monroe's daughter are you?

MISS MONROE  
You knew my father?

Justin stands and walks to the front of the cells. His face is inches from the bars and he holds onto them tightly

JUSTIN  
(hatefully)  
Very well, actually. We all did.

He lets go of the bars and steps back slowly, eyes locked with Miss Monroe's.

JUSTIN  
(hatefully)  
And now we know you.

CUT TO; Mr Johanesson enters Centre 16. He heads toward the elevator. The receptionist sees him and calls out.

RECEPTIONIST  
I'm sorry, but the entire building is in high security mode. I can't let you go up there.

Mr Johanesson turns toward her, and she recognises him

RECEPTIONIST  
I'm sorry, Sir, go right ahead.

He turns and heads toward the elevator again.

CUT TO; Luke is at a power box outside the building. He cuts the lock and opens the doors. He then pulls some wires, cuts them, and then combines them with wires from his laptop. His laptop turns on. Luke is nervous.

CUT TO; Mr Johanesson enters the hall containing the row of cells. Miss Monroe sees him, rolls her eyes, and groans inwardly. The prodigies recognise him. Justin spits out his name.

JUSTIN  
Johanesson.

JOHANESSON  
Hello, children.

He turns to Miss Monroe

JOHANESSON  
If I could have a moment, Miss Monroe.

He motions for her to leave. Miss Monroe looks angry, but leaves anyway.

Johanesson approaches Justin's cell. Justin reaches through the bars and grabs the collar of Johanesson's suit. He pulls him close, hitting him against the bars.

JOHANESSON  
Let go of me you fool.

Justin seems stunned for a moment, confused, and he releases his grip. Johanesson lurches back, composes himself and straightens his suit. He pulls a note from his pocket, walks carefully toward the cell and hands it to Justin. He then turns and walks away. Justin unfolds the note. It is a message, written in the Prodigies' secret language. There is also a code for the keypad locks for the cells on the bottom. Justin looks up as Johanesson disappears from sight.

JUSTIN  
Uno…

The others turn to Justin.

JUSTIN  
Okay, let's get out of here.

He pushes his hand through the gap between the bars, and reaches the keypad. He punches in the code, and the door to his cell swings open. He smiles.

CUT TO; Hallway. Miss Monroe leans against the wall, smoking. Calvin approaches her.

CALVIN  
How they doing?

MISS MONROE  
Fine. Johanesson is in with them now.

CALVIN  
Impossible, I was just on the phone to Johanesson, informing him of our situation. He's flying in tomorrow morning, from Dallas.

MISS MONROE  
Shit!

They both run to the room of cells, Calvin motions for the Sweepers to follow as they run past.

When they arrive, the cells are empty, their doors hanging open. Calvin looks toward the ceiling, and toward the air ventilation shafts.

MISS MONROE  
Where do they go?

CALVIN  
All over the building. But they'll have to exit via the roof.

MISS MONROE  
Right, get another team of sweepers and head to the roof.

Miss Monroe turns to leave

CALVIN  
Where are you going?

MISS MONROE  
Somewhere else.

CUT TO; Luke near power box. Uno, disguised as Johanesson, comes up behind him. Luke jumps with fright.

LUKE  
Christ, don't do that. Especially dressed like that.

UNO  
Cut the power and lockdown the facility in five minutes.

Uno turns to leave.

LUKE  
Thank-you

Uno smiles, and then disappears into the night.

CUT TO; Justin drops down from air shaft in a hallway. He turns toward Miss Monroe's office door, and opens it. He backs into the office, watching the hall carefully. He backs right into Miss Monroe's gun.

MISS MONROE  
Turn around slowly, hands in the air.

JUSTIN  
Aww, Monroe, gotta spoil a guys fun now, dontcha?

He turns to face her. She holds her weapon steady. She quickly glances to the metal archive box on her desk.

MISS MONROE  
When you're after something that belongs to me, yeah.

CUT TO; The sweepers and Calvin run hurriedly up a flight of stairs to the roof. They reach a metal door with 'Roof' painted on it in large red letters. They go to open it, but it won't open.

CALVIN  
They've locked the place down.

CUT TO; The roof. Dina, Mercedes and Trinity exit the ventilation shafts, kicking them open, and reach the roof. They get up and run across the roof, to fire stairs. They begin to climb down, but are illuminated by spotlights from a watchtower. The watchtower begins to shoot. They slide down the stairs, hitting the ground hard, and start to run, the watchtower still tracking them with it's light, and shooting at them as they try to escape.

CUT TO; Miss Monroe's office. Miss Monroe still holds the gun at Justin. Suddenly, the power goes off. This gives Justin the distraction he needs. He knocks the gun from Miss Monroe's hand, pushes past her, grabs the archive from her desk, and throws it through the large glass window behind her desk, glass shattering everywhere. He jumps after it, landing on top of a parked car. Justin grabs the metal archive box, and runs into the night, as Miss Monroe stands at the window, unable to do anything.

CUT TO; The watchtower light goes off, and Mercedes, Dina and Trinity run to safety, as Luke pulls up in the jeep, they jump in, as does Justin, and the prodigies escape into the night.

CUT TO; Calvin, on cell phone, as he approaches Miss Monroe's office, the door wide open, he sees the smashed window, and Miss Monroe standing in front of it.

CALVIN  
Dispatch a team of cleaners to rectify the situation in Boston. And quickly, the subjects have obtained the information.

Miss Monroe walks over to Calvin, having overheard his orders.

MISS MONROE  
(suspicious)  
I thought you didn't know what was in that archive?

CALVIN  
I lied.

MISS MONROE  
So what is it?

CALVIN  
You do not need to know Miss Monroe.

MISS MONROE  
I want to know. What was in that archive?

CALVIN  
Nothing that concerns you. Nothing relevant to your duty. You do not need to know.

MISS MONROE  
I do need to know if I can trust you Calvin. And I don't think I can. Why was it so important that the subjects didn't obtain that archive?

CALVIN  
Because, Miss Monroe, it contained the truth.

MISS MONROE  
About?

CALVIN  
Their origin…about everything.

CUT TO; Side of the road. The jeeps car radio is on. The prodigies stand around the archive as Luke breaks the lock. He opens the archive. Inside are hard copies of the Red Files. Luke pulls them out and hands them to Justin. Justin flicks through them.

JUSTIN  
This is just what we found on the CD. Tell me there's something else.

Luke picks up Justin's file, an envelope with a note in it falls from it. Handwritten, it has a key taped to it. It is addressed to 'My Son'.

He hands it to Justin.

LUKE  
I think this is for you.

JUSTIN  
(reading letter aloud)  
"My son, if you are reading this than you have reached a safe home. I am sorry, but I had to protect you. I face great danger, and do not wish to endanger you as well. I will come for you, as soon as all this settles down, I promise. Whatever happens, look after your sister and always remember, I love you both so much, Love, Mom."

He swallows hard, fighting back tears, and looks at Mercedes.

JUSTIN  
Our mom….

He pulls the key from the page gently.

DINA  
What's it for?

JUSTIN  
I don't know.

Mercedes moves closer to Justin. Luke pulls another file from the archive box. It is green. He opens it, and inside are photos of them all as children, and reference numbers to folders at the Boston adoption agency. Luke points to the numbers in the corner of each photograph.

LUKE  
These look like references to files at Bell's Adoption Agency.

The radio interrupts their thoughts.

NEWSREADER  
(on radio)  
A disastrous fire tore through an adoption agency in downtown Boston a few hours ago. Only one casualty has so far been recorded, Dr Theodore Mathis. According to sources close to the agency, Dr Mathis was working late at Bell's Adoption Agency, where he has been employed for the last 20 years, when the blaze erupted in the building. The cause of the fire is yet to be determined.

The prodigies turn, dejected, back toward the archive. Their eyes focused on the green folder. Justin seems preoccupied with the letter from his mother. Mercedes holds his hand.

DINA  
It seems that just as we see the door, it slams closed in our faces.

LUKE  
The door was never open, Dina. What is it that The Centre doesn't want us to know about our origin? It's not just about risking exposure, I'm sure of it. It's deeper than that.

Justin is still thinking about the letter. Trinity turns to him.

TRINITY  
(distant, obviously under the influence of her empathic abilities)  
She was scared, Justin, terrified that something would happen to you, to you both. She did what she had to do, to keep you safe.

JUSTIN  
Safe?

TRINITY  
How could she know what was to happen?

LUKE  
Without the files from Bell's I doubt we'll ever know what really happened to us all or where we really came from.

TRINITY  
(distant, obviously under the influence of her empathic abilities)  
The answers are here Luke, in these files, in that letter, and behind whatever lock that key opens, and we'll find them, we have to, and soon.

JUSTIN  
What do you mean?

TRINITY  
I don't know

The prodigies sit around the jeep, saddened, disappointed, and reflective, as the sun rises over the desert behind them.

THE END 

NEXT WEEK ON PRODIGY: Kick – Justin assists a college football player whose scholarship has been revoked, while Trinity agrees to help Luke locate a doctor who used to work for Centre 16. Mercedes and Dina try to earn 'honest' money to buy a new car


	3. 103 Kick

The adventures continue as Luke and Trinity search for a Centre 16 doctor and Justin helps a footballer whose future is in jeopardy...

FILE THREE – Kick  
(Written By Vokal) 

WIDE on a nightclub scene. Laser lights circle the dance floor, hundreds of people dance close together. CLOSE IN on Trinity and Dina, they dance together in the centre of the dance floor. They are smiling, having fun.

CUT TO; Mercedes leaves bar area balancing three drinks. She sits down at a table with Justin and Luke. Luke seems extremely uncomfortable, almost disgruntled. Mercedes looks at him and smiles.

MERCEDES  
(to Justin, motioning to Luke)  
Woss wrong wid Skywalker?

JUSTIN  
Luke thinks we should be out hunting down some doctor from The Centre's glory days. What's with the Lingo?

MERCEDES  
Oh, dat's club talk.

JUSTIN  
And?

MERCEDES  
Assimilation my brother, assimilation. We gotta stop being so conspicuous, 'specially you with all your 'mustn'ts and 'shalls' and proper language. Here, give it a go, 'You down widdat?' It means, 'Is that okay by you' or 'Is that alright'.

JUSTIN  
No, Mercedes, the way I talk has nothing to do with the fact that I've spent 16 years of my life living underground; it's just that I like to talk correctly. Besides, I'm too old…

MERCEDES  
Come on…. 'Down widdat' say it come on…

Mercedes hassles Justin, Luke laughs, enjoying Justin's torment.

MERCEDES  
'Down widdat'…. C'mon.

JUSTIN  
No… Mercedes, no.

MERCEDES  
'Down widdat', Justin, say it, c'mon, it's not going to kill you.

JUSTIN  
Okay, alright.  
(softly)  
You down widdat?

MERCEDES  
Louder, c'mon, it's not gonna hurt, we won't judge.  
  
JUSTIN  
(slowly, loudly)  
Are you down widdat?

MERCEDES  
No, there's no 'are', it's just 'You down widdat'

Suddenly, their conversation is interrupted by a guy;

JIM ~ 23 years old ~ Male

who crashes onto their table. They back away from the table, blending into the circle created by patrons at the club. Another guy;

NATHAN GREEN ~ 23 years old ~ Male

walks up beside him and grabs him by his shirt. He is angry

NATHAN  
My entire future, Jim, I hope you know what you're doing. Cos as soon as I get proof, I'm gonna kill you.

JIM  
I don't know what you're talking about.

NATHAN  
You set me up, don't lie to me

JIM  
Nathan, man, I don't know what you mean

NATHAN  
Then I'll explain it slowly, you gave me something before the game last Sunday, I came up positive, and now I've lost my scholarship, and I'll probably never play football again.

JIM  
Look, man, it wasn't me, I didn't do nothing…

NATHAN  
Don't lie to me, I don't do drugs, I know it was you…

Club security arrives and pries the two young men apart. They are carried off. Trinity and Dina come up behind Justin. Justin turns to leave.

MERCEDES  
Where you going?

JUSTIN  
To college

Luke rolls his eyes, Dina has a 'Not again' look on her face, and Trinity seems confused.

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

CUT TO; Night. WIDE on Centre 16.

CUT TO; File Archives room.

**Text On Screen:   
File Archives  
Prodigy Wing  
Centre 16  
Salt Lake City, Utah**

Miss Monroe is at a file cabinet. The room is dark, lit only by a small lamp and the moonlight filtering in through the large glass window. She rifles through the cabinet, pushing files aside, searching. She arrives at a file labelled 'Prodigy', she pulls out the folder, positions it under the small lamp and opens it, only to find it empty. Scowling and annoyed, she moves on to a different cabinet, labelled 'Personnel'. She pulls it open, and searches through until she comes to one labelled 'Calvin, P'. She opens it, it too is empty. In the top left hand corner the letters M, E and N are written in thick black pen. She drops it to the ground, gets JC's and opens it. It is full, but of seemingly unimportant information, as she disregards it and drops it to the ground. When Miss Monroe finds Roschelle's, she opens it to find a photograph of a woman ~ 30 years old, with long red hair standing out the front of Centre 16. Miss Monroe puts it inside her jacket. She glances back at the folder, the letters T, O and R are written in the top left hand corner, in the same pen as on Calvin's file. She looks at it quizzically, then puts the folder on the ground. She hears footsteps echoing down the corridor. Miss Monroe gathers the files together, and goes to leave, but is suddenly compelled to go back to the Personnel Filing Cabinet. She opens it again, and retrieves a folder labelled 'Monroe, M'. She opens it. It contains a photograph of her father and Calvin like the one on Calvin's desk. She puts the photograph inside her jacket, before running her fingers across the letter T and number 13 written in the same way as the other files. She glances up at the window, in thought. Suddenly, JC opens the door. He gives Miss Monroe a fright.

MISS MONROE  
JC, don't do that. Not around this place anyway.

JC  
(partly suspicious)  
Ok, sorry, but Calvin's been looking for you, something's going down and he wants you to be there. What are you doing up here anyway?

MISS MONROE  
Research. Not that it's any of your business

JC  
In the dark?

MISS MONROE  
The lights aren't working.

JC flicks a switch, and the room lights up

JC  
Oh?

MISS MONROE  
Well, they weren't, let's go.

She walks out the door, slightly concealing the files she holds. JC follows.

CUT TO; Night. Hotel room. Trinity walks from the adjoining bathroom with a towel wrapped around her hair and wearing a white hotel robe.

TRINITY  
So what's with Justin anyway?

She walks past Luke, who sits at a desk, working on his laptop, and joins Dina, sitting on the double bed shuffling cards.

DINA  
Well, it's a long and complicated story, incorporating 16 years of guilt over developing those simulations that resulted in mass wrongdoing and a Centre Urban Legend, that Justin believes so strongly in.

Trinity watches Dina shuffling carefully, then Dina holds them up, so that Trinity can't see them. Trinity picks two cards, and places them on the bed facing upwards; they are two Aces.

TRINITY  
An Urban myth?

DINA  
Well, apparently there are pretenders among us… geniuses who can become anyone they want…

TRINITY

Pretenders? Like us? Others?

She picks another two cards and places them on the bed; they are also a matching pair, a king of diamonds and a king of hearts.

DINA  
Hmm… particularly one other, who goes about helping the downtrodden, protecting the defenceless… from another Centre…

Luke interjects…

LUKE  
An urban legend the lot of it, told to snivelling Directors so that they won't allow their subjects to escape and risk turning America into a nice place to live…

DINA  
Justin believes…

LUKE  
It's more like Justin just wants to be a hero…

TRINITY  
Well I think it's good that he would want to help…

Camera CLOSES IN on line of cards Trinity has created on the bed. They are all organised in matching pairs. MOVE TO Luke's face, as he looks earnestly at Trinity.

LUKE  
Yeah, but one day it's gonna get us all killed…or reclaimed.

At that moment, Justin walks in the room. He senses that they have been talking about him. He looks at Luke knowingly, Luke looks toward his computer. Justin walks over beside the bed and sees Trinity's rows of cards. He looks up at her.

JUSTIN  
Not bad…. Maybe we should all get some sleep…

He glances at Dina and Mercedes, they understand his look, and they pack up the cards and walk through a door into an adjoining room. Justin looks at Luke, who glares back at him defensively.

CUT TO; Miss Monroe enters Calvin's office. She is annoyed.

MISS MONROE  
What is it Calvin, and it better be global…

CALVIN  
Miss Monroe, we've got another lead, there have been sightings in Memphis

MISS MONROE  
Tell me you're not talking about Elvis?

CALVIN  
Subjects 02, 03, 05, 06 and 07.

MISS MONROE  
And?

CALVIN  
I think we should head down there…

MISS MONROE  
Do you have even the slightest comprehension of just how busy I am? Do you know how many Special Projects I have to direct? I can not afford to fritter away valuable hours chasing some stupid sightings… Now, you can deploy the team, go ahead, but stop wasting my time…

She walks out of the office hastily.

CUT TO; Hotel room. Trintiy lies in the middle bed of three single beds evenly spaced along a hotel room. To the left of her lies Dina asleep, and to her right, Mercedes, who is also asleep. Trinity is shaking, and coated in sweat. Justin and Luke are heard arguing from the next room, their voices slightly muffled. Trinity listens to them. Cradling her legs, to her body and turning over in her bed.

LUKE  
(shouting, offscreen)  
Justin this is important.

JUSTIN  
(shouting, offscreen)  
But it's not safe…

LUKE  
(shouting, offscreen)  
Justin wake up! Nothing we do is safe, and it never will be. What? You think you and your fruitless crusade isn't dangerous?

JUSTIN  
This has nothing to do with that.

CUT TO; Hotel room where Luke and Justin are. They are aggressive.

LUKE  
(banging his hand down on the desk)  
It has everything to do with that… Every time you launch one of your ridiculous quests you endanger us all by risking exposure. We need to find this doctor…

JUSTIN  
Luke, I said no, we're not discussing this further…

LUKE  
(laughing cynically)  
You're trying to _order_ me? I'll do this, with or without your help…

Luke picks up his jacket, opens the door and leaves the room, slamming the door behind him. Justin looks at the closed door intently.

CUT TO; Trinity lies in bed, staring at the ceiling, the shouting next door has awoken painful memories.

CUT TO; Trinity's FLASHBACK YOUNG TRINITY ~ 10 years old, lies in a bed in a small room, lacking windows, and containing only one door, solid, bar for a small window ¼ of the way down the door. YOUNG TRINITY gets out of bed, she hears muffled shouting. She stands, and walks to the door. Stretching onto her tiptoes, she strains to look out the small window on the door. As she does, her shirt lifts slightly at the back, and camera CLOSE IN on her tattoo – 03. Peering through the small window, she sees YOUNG CALVIN ~ mid 40's, and YOUNG MR MONROE ~ 46 years old. They are in the hall, arguing.

MR MONROE  
You know we can't do that Calvin, sooner or later someone is going to realise…

CALVIN  
Think of the project, Malcolm, think of Prodigy.

MR MONROE  
I am thinking of the project, we can't do anything that may jeopardise its progress.

They glance toward Young Trinity's room, and see her peeking through the window. Young Trinity, panicked, ducks below the window, and holds her breath, After waiting for a few beats she looks over the window again and sees that the two men have left.

CUT TO; Miss Monroe's office. Miss Monroe sits at her desk. It is night, and she has the desk lamp on. Her desk calendar indicates it is July. She has in front of her the letters M, E and N, T, O and R, and T, and the number 13, written in the corner of the files she uncovered earlier that night. She has ripped them from the folders and is arranging them in front of her. She first arranges them to spell MENTOR T13, and then T TORMEN 13, and finally TORMENT 13. Camera CLOSES IN on this arrangement. Miss Monroe stares at them intently, and without emotion, before running her hand across them, sending them into disarray. She leaves them in a pile on her desk, stands, turns off the lamp, and walks out of her office. She turns slightly to turn off the main light switch, and glances again at the pile of letters on her desk. She leaves her office, closing the door behind her.

CUT TO; Miss Monroe's apartment. Night. Her apartment is neatly furbished, very professional and lacking distinctive feminine aspects. She lies in bed, staring at the ceiling. She looks toward the end of her bed, and sees Justin sitting there. He is very pale, and has sunken eyes surrounded by thick black rings. He mouths the words 'help me'. Miss Monroe sits up abruptly, she was dreaming. She is breathing heavy. Obviously disturbed. She gets out of bed, walks to a basin in the adjoining bathroom, turns on the tap and splashes her face with water. Her mascara runs. She has a FLASHBACK

YOUNG MISS MONROE ~ 22 years old, walks past a room in SLOW MO with a row of beds in it. Sitting on the edge of a bed is YOUNG MERCEDES ~ 20 years old. She is wearing the subject's uniform of stark white clothing resembling surgical scrubs. Her face is gaunt, her eyes clouded, hair matted. She lifts her head and stares helplessly at Young Miss Monroe as she walks past. Miss Monroe keeps walking.

Miss Monroe shakes off the flashback, and noticing that the tap is still running, turns it off. She walks back into her bedroom, and sits on the edge of her bed, head in hands. She runs her hands through her hair, sighs, and lies down on her side.

CUT TO; Morning. Justin's jeep. Justin, Mercedes and Dina are driving down the street. Dina is driving, Mercedes sits in the front seat and Justin is in the back.

MERCEDES  
(turning to look at Justin)  
Look, J, I know you're just trying to help, but you don't know the first thing about American football.

The camera shows Justin, sitting in the back of the jeep, surrounded by books on football. He is reading one entitled 'The basic rules of American gridiron'. He smiles.

JUSTIN  
I will by the time we get there

Mercedes turns back to the front and smiles. Before turning to Dina.

MERCEDES  
We've never been to a football match before Dina.

JUSTIN  
(still engrossed in his book)  
Well, apparently you're not missing much, just a bunch of guys in tight clothes, getting sweaty and chasing a sheep's gut around a field, before tackling each other to the ground.

Camera shows Dina and Mercedes, watching the road, smiling mischievously

DINA  
Not much at all…..

CUT TO; Trinity's hotel room.

She lies asleep underneath her bed. Luke walks in and notices her peculiar sleeping position. He stands at the door and continues watching her. He has a FLASHBACK

YOUNG LUKE ~ 20 years old, is being led down a sterile, white corridor.To his left are the prodigy subject's living spaces, small white rooms devoid of furniture, except for a bed. He struggles madly against the doctors and centre personnel who force him down the corridor. He refuses to stand and walk, so they half pull, half drag him down the corridor. He screams, loudly, he bites, kicks, scrambles, and cries desperately.

LUKE  
Don't take me there, don't take me there…

When he walks past Trinity's living space, he sees through the small glass window in the door that she is asleep, underneath her bed. He stops struggling, and the personnel wonder why. Not knowing what is wrong, they stand around dumbly. Luke scrambles closer to her door, and peeks through the window. He watches her closely, watches her breathe, serenely, calmly. This seems to quiet him down. He reaches his hand up to the glass window, and his warm hand leaves a mark on the cold glass. A doctor hits him on the head and he is knocked unconscious.

Luke comes out of the flashback, he has a calm look on his face. He continues to watch Trinity breathe, himself breathing in time with the rise and fall of her chest. He smiles at her, and the camera shows us that he has his laptop in a bag with him. Luke sighs and whispers.

LUKE  
Goodbye Trinity

He closes the door softly as he leaves.

CUT TO; Centre 16.

**Text On Screen:   
Prodigy Wing  
Centre 16  
Salt Lake City, Utah**

Miss Monroe walks into her office. She is wearing dark glasses, and is not happy. She is greeted by JC, who senses something is not good.

JC  
Rough night?

MISS MONROE  
Well if you must know JC…

She goes to explain her sleeplessness, but decides not to.

MISS MONROE  
(sarcastically)  
After I finished shaking my thang down at Hickeninnies Bar for Desert people, I hooked up with a wild lover and we spent the whole night banging the gong.

JC  
The gong?

MISS MONROE  
My gong. We're done now JC unless there are any other _private _details of my _private_ life you would like to pry into?

JC  
I've had enough visual aids for one day thank-you.

MISS MONROE  
I'll bet you have.

JC just stands around. Miss Monroe looks at him.

MISS MONROE  
Can I help you with anything?

JC  
(oblivious to Miss Monroe's request for him to leave)  
No, I'm fine.

Miss Monroe continues watching him, annoyed. He looks at her, realising that she wants him to leave. He turns to leave, but before he does, he turns back to her

JC  
Where's your Diploma?

MISS MONROE  
What for?

JC  
Behavioural sciences? It's not up in your office.

MISS MONROE  
I don't have it.

JC  
No, I didn't think you did.

He leaves, Miss Monroe watches him close the door. She pulls the pile of letters from the files she found last night toward her. She examines them closely then picks up a photo of her dad on her desk, muttering to herself, or to the photo.

MISS MONROE  
What is it you want me to do?

She sighs and puts the photo down. She opens a desk drawer and pulls out JC's file. She opens it, just as Roschelle walks through her door.

MISS MONROE  
Does no one knock?

ROSCHELLE  
You know you're not going to find what you're looking for in there.

MISS MONROE  
I don't know what you mean.

ROSCHELLE  
Yes you do.  
(she looks at Miss Monroe earnestly)  
You can trust me… you know, if you need to talk…

MISS MONROE  
What are you doing here, Roschelle?

ROSHELLE  
What are you doing here, Miss Monroe?

MISS MONROE  
It's my office

ROSCHELLE  
No, here, at The Centre.

MISS MONROE  
I'm here to bring the subjects home.

ROSHELLE  
This is not their home

MISS MONROE  
You act like you oppose what went on here, and yet you were an active participant in everything… I don't understand.

ROSCHELLE  
Like I said before, none of us are here by choice. You are here because you feel duty-bound because of your father…, JC was pulled from prison, his family thinks he's dead, Calvin's here because he made a few too many mistakes three years ago, and I'm here, well, I'm here because I trusted the wrong people…

MISS MONROE  
(changing the subject)  
What was it that you wanted?

ROSCHELLE  
I heard you were having trouble sleeping, thought these might help…

She produces a pack of unmarked pills.

MISS MONROE  
Word travels fast… What are they?

ROSCHELLE  
Just something to help you sleep

MISS MONROE  
(shaking her head)  
No. Thank-you, but I don't need them.

Roschelle gets up to leave, putting the pills on Miss Mornoe's desk.

ROSCHELLE  
You will…

CUT TO; Football field. Footballers run past a man wearing an 'Assistant Coach' jacket, poring water from a jug. The man turns around and drinks the water, revealing that he is Justin. Justin smiles a devious smile as Jim from the nightclub runs past. In the grandstand, Mercedes and Dina watch the footballers. They seem disappointed.

DINA  
Not as much fun as I though it'd be…

MERCEDES  
No, I just don't see a point to the game…

Mercedes looks around at all the people in the grandstand.

MERCEDES  
But a lot of people seem to like it…

DINA  
Must be some bent normal-person thing…

As they are speaking, Mercedes raises her hand to stretch. A peanut selling guy mistakes this movement as a request for peanuts, and so he throws her a packet. The packet of peanuts lands in her lap. Mercedes and Dins look around, confused and not knowing what to do. Mercedes looks at Dina for answers and Dina looks at Mercedes. Mercie picks up the bag and throws it back at the peanut guy, hitting him in the head, and he drops his tray of peanuts, they go tumbling down the stairs. He looks at Mercedes, a bit angry, and her and Dina leave the game, embarrassed.

CUT TO; Trinity's hotel room. She sits cross legged on her bed. She has just showered, as her hair is still wet. She seems sad, as though she knows that Luke has left. She stands, and walks up to the door, going to open it. She has a VISION of Luke standing at the door, watching her breathing. She opens her eyes, and smiles.

CUT TO; Donut shop. Luke sits at a booth. He is pulling his donut apart, but not eating it. Trinity walks up behind him, and joins him at the booth. He looks up.

LUKE  
How'd you find me?

TRINITY  
I'm an empath remember, I can absorb your personality, feel your feelings…

She gives him a knowing look, and the tension increases as the pair shares a silent moment.

LUKE  
And?

TRINITY  
(breaking the tension, and looking at his drink)  
And you felt like a hot chocolate

LUKE  
Oh…

He looks away, then changes the subject.

LUKE  
(picking at his donut)  
Okay, so this is what I don't understand, I get the dough bit right, but I can't find the nuts, it doesn't look like a nut, and it certainly doesn't taste like one…

Trinity smiles at him, and he smiles back, one of his brilliant smiles that Trinity had grown accustomed to.

TRINITY  
I think it's just a name

LUKE  
Right, so I shouldn't dwell on it?

TRINITY  
Not unless you want to go nuts.

LUKE  
Funny

TRINITY  
Well, I'm a funny girl

They smile at each other again, then Trinity again breaks the mounting tension

TRINITY  
So let's go find this doctor shall we?

LUKE  
You'll help?

TRINITY  
Have I got anything else to do?

She stands and leaves; Luke smiles secretly behind her back. He is happy she is with him.

CUT TO; JC sits in a large room lined with computers. It is empty except for JC

**Text On Screen:   
Tech Room  
** **Sub-Level 2  
Prodigy Wing**

Miss Monroe walks into the room, over to where JC is sitting. She sits down next to him, uninvited. JC doesn't look happy.

MISS MONROE  
(forcefully, but not unkind)  
Let's get one thing straight, little boy… Don't threaten me, ever…

JC goes to protest, but Miss Monroe stops him

MISS MONROE  
I know you were threatening me, JC, don't make things worse for yourself by lying. I also know that you know that I am not really a scientist… and that doesn't bother me…

JC  
But…

MISS MONROE  
But I know you wouldn't be stupid enough to tell anyone that, right?

She looks at him questioningly

JC  
No…

MISS MONROE  
So we have an understanding, then?

JC  
I'm not quite sure…

MISS MONROE  
You don't tell them my secrets, and I won't tell them yours…

JC  
Mine?

MISS MONROE  
Don't play games with me, because I'm sure you'll find that I'm not that much fun…  
I know all about your little stint in the slammer, hacking right?

JC  
(dumbly, as though he can't remember)  
I may have intentionally armed several nuclear warheads from my laptop…

MISS MONROE  
Just like The Centre _may_ have intentionally framed your death, extracted you from our (sarcastically) 'highly secure' American prison system and blackmailed you into working for them.

JC nods slowly

MISS MONROE  
And just like you _may_ have been told not to contact your family…

She looks at him knowingly; JC seems to understand what she is getting at.

JC  
What do you want?

MISS MONROE  
A house, a dog, white picket fences… a normal life

Miss Monroe becomes serious

MISS MONROE  
...and revenge, or as a like to call it, closure.

JC  
I don't understand…

MISS MONROE  
My father was a scientist and consultant here at Centre 16 for my whole life, and probably before that too… He headed Project Prodigy with Calvin and Roschelle for it's entirety and was tracking the subjects after their escape up until December 18, 1998.

JC  
What happened on December 18?

MISS MONROE  
He was murdered…

JC seems to realise that Miss Monroe is deadly serious, and watches her expressions grimly.

JC  
By who?

MISS MONROE  
That's what I'm here to find out… I never knew my father that well, he was always working, and later I was too… for The Centre, of course. But before he was killed he called me and told me that we should get together, that he had something to tell me, but if that if anything should happen in the meantime, I was to finish his work.

JC doesn't seem to know what to say.

MISS MONROE  
I'm going to finish his work… I'm going to bring in those subjects, and I'm going to find Daddy's murderer…

JC  
You think it was one of the escapees?

MISS MONROE  
Or someone inside The Centre

JC  
Why are you telling me this?

MISS MONROE  
Because I am going to need your help

JC  
How do you know you can trust me?

MISS MONROE  
I don't, but I am hoping I can.

She looks at him questioningly. JC nods.

MISS MONROE  
There is something strange going on in this place, and I don't just mean Johanesson's toupee. Someone isn't telling us the whole truth… and I intend to find out who…

JC  
How will you do that?

MISS MONROE  
By planting seeds, JC, and waiting for them to grow

He looks at her curiously

CUT TO; Dina and Mercedes walk along the streets of Memphis. They pass an Elvis impersonator. Mercedes doesn't seem to grasp the concept. She turns to Dina

MERCEDES  
There really are Pretenders among us…

She stops suddenly when she sees a brilliant sports car. She smiles, Dina groans.

MERCEDES  
I need it.

DINA  
Mercie, it already belongs to someone…

MERCEDES  
I know, but I need one like it…

DINA  
You don't have any money…

MERCEDES  
Dina, we're geniuses, how long is it going to take us to get cash…

DINA  
But it's not right, hasn't your brother's preaching taught you anything? We have to honestly earn what we take.

MERCEDES  
(shocked)  
What are you saying? That we should actually get real jobs and… and… work?

DINA  
Exactly

MERCEDES  
(looking at the car)  
Maybe I don't want it that bad…

The girls walk past a Diner with a sign out the front saying 'help wanted', Dina drags Mercedes inside.

CUT TO; Justin is leaning against Jim's locker in the footballer's locker rooms. He listens to the sound of the combination lock as he turns it. He unlocks the locker, and smiles. Inside the locker, he finds a gym bag. He opens it, and recoils in horror. It smells really bad. He cautiously picks his way through the bag, keeping his nose a safe distance away. He puts the bag aside. On the inside of the door of Jim's locker are pictures of scantily clad women. Justin sees them and is intrigued. He examines them closely (of course J) before continuing his search through the locker. On the top shelf he finds a letter. Camera closes in on text;

Mr Jim Suberson,  
We regret to inform you that, due to circumstances beyond our control, your scholarship has been terminated. Please contact your student administration for information regarding other student offers.

Justin reads the letter, and gives a knowing grin. He whispers to himself

JUSTIN  
Motive…

He looks at a small bottle at the back of the shelf…

JUSTIN  
Means…

CUT TO; Trinity and Luke sit in a vehicle outside a hospital.

LUKE  
Now, are you sure this is it this time?

TRINITY  
Positive

LUKE  
That's what you said last time

TRINITY  
(in defence)  
It's not like I can just empath-up an address you know… It's just like feelings… images…thoughts… And it's not like I had a lot to work with… I mean, a 10 year old photo? The guy could have put on thirty pounds…

LUKE  
Well I had the city… all you had to do was find the hospital the guy worked at…

TRINITY  
Hospitals… they all look the same… And we're not in Memphis anymore…

Luke smiles widely.

LUKE  
Close enough to be correct.

TRINITY  
(annoyed)  
Are we going?

LUKE  
(still grinning)  
After you…

He reaches into the back of the vehicle and pulls out a bunch of flowers. There is medical equipment in the back. A WIDE shot reveals they are sitting in an ambulance. They get out of ambulance; take of their ambulance jackets, and go inside the hospital.

CUT TO; Inside the hospital, Luke and Trinity walk up to the nurse's station. Luke looks at a clipboard while the nurse is busy. He is reading it upside-down. The nurse walks over to him.

NURSE  
Can I help you?

LUKE  
Yes, Frank Handino please…

NURSE  
(looking at the clipboard)  
Room 347, second floor.

CUT TO; Trinity and Luke are in an elevator. When it stops, Luke tries to open the doors manually, but they won't budge. He looks at Trinity, confused. She shrugs her shoulders. Suddenly the doors open automatically, and the pair jump in fright. They walk out, Trinity runs back and has a look as the doors close. She looks at Luke, dumfounded.

TRINITY  
The one in my building was always out-of-order… I didn't know they did that.

They head down a corridor. They look at the numbers on the doors; 345, 346, 347… Trinity pushes the door open, and inside an old man lies in bed. He watches them as they walk in, not recognising them.

LUKE  
(cheerfully to the old man)  
Hey grandpop, how are the nurses here? Not causing any trouble for 'em hey? (he winks)

The old man smiles, still not recognising the pair. Trinity looks at Luke, not sure what he is up to.

LUKE  
It's me, Luke, your grandson, and you remember my girlfriend Trini.

Trinity seems uncomfortable about being called his girlfriend, but Luke doesn't seem to notice. The old man nods, smiling, but obviously not recognising Luke and Trinity. Trinity walks up next to Luke and whispers in his ear.

TRINITY  
What?

LUKE  
(whispering back)  
Alzheimer's

TRINITY  
Oh…

They both look to the old man and smile. He smiles back. Luke sits on the edge of his bed and picks up his chart. He reads it. Camera CLOSES IN on text

'Dr Bernard'

He passes it to Trinity, who also reads it, and they look at each other knowingly. Luke replaces the chart, pats the old man's legs and starts a conversation with him.

LUKE  
So what's the food like here Pop?

CUT TO; Diner. Dina is at the counter, dressed as a waitress, and taking orders from customers.

CUSTOMER 1  
I'll have 6 hotcakes and syrup please and 2 chocolate milkshakes.

Dina scribbles madly on a notebook, customers are shouting orders at her. She seems to have no trouble handling the chaos. She rips off the page of notepaper and takes back into the kitchen where it is taken by Mercedes. The kitchen is a complete mess, pots, pans and foodstuffs everywhere. Mercedes takes the notepaper and Dina heads back out to the counter. Mercedes looks at the notepaper. Camera CLOSES IN on the text

'hotcakes'

Mercedes looks confused. She goes to the freezer and pulls out a frozen cake, cuts it violently into six pieces with a knife, then puts it in a microwave dish. She put it in the microwave, and searches through the buttons until she finds the start button. She takes a cup, puts some chocolate in it, adds some milk, and then swishes it from side to side. Realising that this isn't achieving anything, she covers the cup with her hand and shakes madly. Milk splashes out everywhere. She puts it down on the bench. The microwave signals it's completion, and Dina walks in carrying another piece of notepaper, hands it to Mercedes, and takes the cake and 'milkshakes' out the front. Mercedes looks at the next order. Camera CLOSES IN on text

'hotdog'

Mercedes looks at in horror and confusion, then shrugs, excepting what is written. She goes to the back door that leads into an alley. She sees a dog rummaging in the bins. She looks at it, and raises one eyebrow…

MERCEDES  
No… Surely not…

Suddenly a yell is heard from the Diner. Mercedes rushes back inside. It is the cook, mad, and turned a bright red colour.

COOK  
I leave you alone for 5 minutes, and you destroy my business!

Mercedes looks at him, confused. The cook picks up the six pieces of hot cake in it.

COOK  
This, this is not hotcakes…

Dina walks into the kitchen, the cook turns angrily to her.

COOK  
And you… you served this to my customers?

The girls look back at him, not understanding why he is yelling.

COOK  
(waving at them wildly)  
Out! Out! Out!

Mercedes and Dina rush out the back door and into the alley. Mercedes spots the dog and goes over to it.

MERCEDES  
(whispering to the dog)  
I'd get out of here if I were you

The dog looks at her blankly

MERCEDES  
One word for ya… hotdog

The dog yelps, and runs away.

* * *

CUT TO; Hotel room. Justin is mixing substances together in scientific beakers carefully. He adds the finished substance to a water bottle, and smiles. He stands, walks over to the desk and picks up an opened letter that he has read beforehand. It is from Luke. He frowns, and crumples the letter up. Justin leaves the room.

CUT TO; College campus. Justin sits with Nathan and they are talking.

NATHAN  
My parents never had much money, but they said I had a gift, so they sent me to all the best football camps and schools. And I was good… I was the best… without drugs. Why would I need them? I had everything going for me… until now. I need that scholarship, but not even that... I mean, they're gonna kick me outta school.

JUSTIN  
(quietly, attempting the phrase)  
You down widdat?

NATHAN  
What?

JUSTIN  
Nothing… Look, if someone set you up, I'm going to find out who, you have my word.

NATHAN  
You play football when you were a kid?

JUSTIN  
No

NATHAN  
How long you been playing?

JUSTIN  
I never have

NATHAN  
Then where'd you learn to play…? I mean, you are an assistant coach…

JUSTIN  
Actually I read about it in a book…

Nathan thinks Justin is joking, and starts to laugh. Confused, Justin laughs along with him.

CUT TO; Hospital room. The old man is asleep, and Trinity and Luke sit in chairs by his bed. Luke is playing with Jell-O from a meal tray. He is holding it in his hand, and moving his hand from side to side, making the Jell-O wobble. Trinity is watching him, smiling.

TRINITY  
You act like you've never seen Jell-O before…

LUKE  
Oh, I've seen it… on TV

TRINITY  
You my friend, are missing out on a valuable part of American culture…

LUKE  
(watching the Jell-O wobble)  
So I can see….  
(reflective)  
After the escape, I didn't know what was happening. One of the smartest men in America and I was completely lost… I felt so juvenile… never having even driven in a car. I hid, for a long time Trinity, a long time. At the beginning of the year when I got the call from Justin, I wasn't sure what to do… wasn't sure if I was ready…

TRINITY  
Ready for what?

LUKE  
Freedom. I had still been living at the centre, maybe not physically, but in my mind. I even made an exact replica of our living spaces in an apartment – top floor – and never left it. Somewhere where I could see all the people but never actually have to… you know.

TRINITY  
I do know

LUKE  
It's like, I hated that place so much, more than I have ever hated anything in my entire life.. but once we left, I, I didn't know if I could live without it… it was all I had ever known…

TRINITY  
What made you join with the others?

LUKE  
Jell-O. Well, not exactly Jell-O, but everything I had been missing out on… and you

He looks down. Camera CLOSE IN on his face

LUKE  
I'd die before I would go back to Centre 16… what about you?

TRINITY  
What do you mean?

LUKE  
How'd you get started, how'd you meet that, what's his name?

TRINITY  
Ross

LUKE  
Yes, how'd you meet that Ross character you were engaged to…

Trinity takes a deep breath, indicating it is a long story.

TRINITY  
Well, after the escape I just ran… I ran across two states to Las Vegas, before the police picked me up. They thought I was crazy, I had scratches all over my feet, dirty clothes, and I was empathing with everyone I came into contact with… I had never been exposed to that many people before. So they put me in an institution… for insane people.

LUKE  
(making a joke)  
So that's where you met Ross… figures

TRINITY  
Actually I did. He was a social worker there at the time. He realised I wasn't crazy, I bit different, but not crazy. He gave me some drugs to take… to subdue my empathic abilities… and I was out of there in no time. I never really loved Ross, I was just……. Grateful, I guess and…. He was nice, and normal….

LUKE  
(smiling)  
So you agreed to marry him?

TRINITY  
(smiling back)  
I'm young; I'm supposed to make mistakes

Suddenly, Dr Bernard walks in the room. A flicker of recognition crosses his face, but he soon recomposes himself.

DR BERNARD  
Hello, are you relatives of the patient?

LUKE  
(angrily)  
No, and you know that.

DR BERNARD  
Well I'm sorry, but only family of the patient is allowed to be in here… I'll have to call security…

Luke pulls out his gun and aims it at the doctor

LUKE  
Move one muscle and I'll shoot you a new place to hang your stethoscope …

DR BERNARD  
Look, I don't know what this about…

A nurse walks in, sees the commotion, and runs down the hall…

TRINITY  
Luke just put the gun down

DR BERNARD  
I think you should listen to your girlfriend, son, this doesn't have to get violent…

LUKE  
Centre 16? Project Prodigy? You know what I'm talking about…

DR BERNARD  
I think you've mistaken me for someone else…

TRINITY  
(looking around the door and seeing the nurse talking to security)  
Luke I think we should go…

LUKE  
I need to know… Trinity, you said it was important we find answers, well here they are staring us in the face…

TRINITY  
And what good are answers gonna be if we wind up in prison, or back in the centre or dead? Let's go…

Trinity and Luke head out the door and run down the hall, they run down a flight of stairs, avoiding the elevator. Dr Bernard watches them go.

CUT TO; Centre 16, Miss Monroe's office. Calvin and Monroe sit at her desk, they are going over files. Weston bursts in the room.

WESTON  
Calvin, 2 subjects have been located near Memphis…

CALVIN  
Memphis?

WESTON  
They have attempted contact with Bernard

CALVIN  
Bernard

WESTON  
Should we get the jet ready?

CALVIN  
We won't get there in time, dispatch a local sweeper team

WESTON  
For the subjects?

CALVIN  
For Bernard

Miss Monroe, who has been sitting in silence, watching the exchange, suddenly speaks up

MISS MONROE  
Who is Bernard?

CALVIN  
He is of no importance…

MISS MONROE  
Like hell… you just possibly issued the man's assassination, it doesn't take the powers of Nostradamus to know this man is of some importance

CALVIN  
(as Weston leaves)  
He is of no importance to you

MISS MONROE  
Don't cut me out of this, Calvin, because I swear I'll cut my own way back in, and it won't be pretty…

CALVIN  
(reluctantly)  
Bernard was a doctor with the Centre about the same time your father was with us… He was instrumental in several procedures involving the prodigy subjects…

MISS MONROE  
And?

CALVIN  
And let's just say he saw some things…

MISS MONROE  
What sort of things?

CALVIN  
I don't think you're ready to know…

MISS MONROE  
I'm always ready…

CUT TO; Miss Monroe and Calvin are in Calvin's office, watching DSAs of Project Prodigy.

DSA 1  
Small text in the lower left hand corner reads; Project Prodigy  
For Centre Use Only  


Luke is strapped onto the operating table, as in his flashback in 'Origin'. Young Roschelle begins to cut a 'T' shape into his back.

YOUNG ROSCHELLE  
Calvin, are you sure we can't do this with anaesthetic?

CALVIN  
Yes, the anaesthetic would affect the results. Please, continue.

Roschelle closes her eyes, takes a deep breath, as if composing herself, and continues to cut a large 'T' shape into Young Luke's back, stretching from shoulder to shoulder and half way down his spine. Young Luke screams, tears welling in his eyes. He bites his lip, and it begins to bleed. We see Mr Monroe in the corner, watching carefully. Dr Bernard walks in, carrying a tray of medical equipment. He stalls as he walks in, seeing the experiment taking place, and shocked. Suddenly, Luke begins to convulse in spasmodic attacks. He shakes on the operating table, and Roschelle stops cutting.

MR MONROE  
What's going on?

ROSCHELLE  
I don't know… I need help

She looks toward Dr Bernard, who rushes over with cloth. Both him and Roschelle apply pressure to Luke's wounds, but blood flows freely down their arms, saturating the cloth. Their efforts are fruitless.

Miss Monroe turns away from the DSA player, composing herself. We see her internal struggle reflected in her eyes, but Calvin is oblivious, as Miss Monroe is facing away from him. She turns back to the player, Calvin changes the DSA.

DSA 2  
Small text in the lower left hand corner reads; Project Prodigy  
Simulation Room 1  
Subject 06  
For Centre Use Only

Justin paces the floor of a simulation room, a bare room, devoid of furniture except for a desk, at which sits Mr Monroe.

YOUNG JUSTIN ~ 23 years old  
If the explosives were placed at the rear of the building, it would cause the most structural damage, yet still allow for the safe evacuation of the occupants.

MR MONROE  
We need to know, where do we place the bombs if we wanted to kill the occupants?

YOUNG JUSTIN  
Why would you need to know that?

Mr Monroe looks at him threateningly

YOUNG JUSTIN  
I won't do it, you can't make me do it…

MR MONROE  
I think you'll find we can

He motions to someone off camera, and Dr Bernard comes in the room with 2 needles. Mr Monroe points to the first needle

MR MONROE  
This needle will hurt you… a lot…

He points to the next needle

MR MONROE  
But this needle will take the pain away…

JUSTIN  
(defiantly)  
I won't... all those people will die

MR MONROE  
But do you want to die?

JUSTIN  
(just above a whisper)  
Yes…

Mr Monroe nods to Dr Bernard, who looks at him reluctantly.  
Two male nurses enter the room and hold Justin down, as he kicks and yells… Dr Bernard injects Justin with the bad needle, and Justin begins to take short breaths, he looks in great pain. There is still solution in the syringe. Mr Monroe nods to Dr Bernard, as if saying 'again'.

DR BERNARD  
But sir.. it may kill him…

Mr Monroe goes down to Justin's face, who is now writhing in pain on the floor

MR MONROE  
Do you want to die, subject 06? Is that it?  
(to Dr Bernard)  
Again…

Dr Bernard injects the rest of the solution in the syringe, Justin screams.

MR MONROE  
(to one of the male nurses)  
Take him to infirmary; he's no good now…

The male nurses pull Justin to his feet. His eyes are hazy, and he cannot stand. He is sweating, and in a lot of pain 

Miss Monroe sighs and runs her fingers through her hair, closing her eyes.

CALVIN  
I told you you weren't ready

MISS MONROE  
(angrily)  
So what? It would have just been better if I'd never known, is that what you're trying to say…?

CALVIN  
He wasn't an evil man…

MISS MONROE  
(sarcastically)  
You tell that to him…

She points to the DSA, which is still running, showing Justin being dragged out of the Sim Room, delirious, mumbling.

MISS MONROE  
I don't know, maybe Daddy got what he deserved…

CALVIN  
Don't ever say that, your father was a great man, dedicated to his work… no-one deserves to be killed…

Miss Monroe glances back to the DSA. Calvin sees this, and turns the player off.

CALVIN  
Maybe I should turn this off...

CUT TO; Dusk. Football field. Justin sits alone on the bench. He has in his hand a bottle of some sort of substance we presume is drugs. He rolls it around in the palm of his hand. He turns off the lid, and drops a tiny amount in the water bottle next to him, before pouring the whole bottle in. Jim runs off the field and drinks from the water bottle. Justin smiles at him.

JIM  
Ready for the game tonight?

JUSTIN  
Oh, I'm ready…

CUT TO; Exhausted, Trinity and Luke walk into a cheesy motel room. They are talking.

TRINITY  
He could have made an involuntary visit to the Renewal Wing, you know what it's like, mind control, brainwashing… I heard they once succeeded in making an intern think he was the reincarnation of John Lennon.

LUKE  
He recognised us, Trini, I could see it in his eyes…

They suddenly realise that there is only one double bed in the room. Trinity sits on the edge of it, then flops down onto her back

** MUSICAL TRACK: '**Breathing' by Lifehouse (click here to listen)

TRINITY  
We can share, I'm too tired at the moment to even care…

Luke hops onto the bed next to her, also lying on his back.

LUKE  
You'll probably just end up sleeping underneath anyway.

They make themselves comfortable; a long silence ensues.

LUKE  
Why is that?

He rolls onto his side to look at Trinity

TRINITY  
(half asleep)  
What?

LUKE  
Why do you sleep underneath the bed?

TRINITY  
(sighing)  
When we were back at the centre, 09 used to tell me stories of how there were monsters underneath the beds… Her older brother used to tell her that anyway…

LUKE  
And?

TRINITY  
And I wanted to be with those monsters…

Trinity has a FLASHBACK to Calvin, Mr Monroe and Roschelle standing outside her door and peering through the glass window.

She turns on her side and faces Luke, her eyes becoming tearful

TRINITY  
'Cause then maybe the monsters outside my door wouldn't come to get me… I guess I just sleep where I feel safe...

She closes her eyes, and Luke lay for a while, watching her breath as she sleeps

CUT TO; Miss Monroe's bedroom. Night. She comes out of her adjoining bathroom in her pyjamas, her hair wet. She has a FLASHBACK to Young Justin at the Centre 16 infirmary, mouthing the words 'help me'. She also has a FLASBACK to the DSA on Luke she had witnessed that afternoon. Camera closes in on his pained face. Miss Monroe pushes the hair back off her neck. She glances to her bedside table. On it is her gun, and the sleeping tablets Roschelle had given her. Miss Monroe pops out two pills and swallows them, before laying down in her bed, and turning off her bedside lamp.

CUT TO; Justin is in the locker rooms. Jim enters, covered in an unnatural sweat.

JUSTIN  
What's wrong?

JIM  
I need a little something man.. I don't feel so good…

JUSTIN  
What? Like an aspirin?

JIM  
No… I think I might have taken something… not in the rulebook

JUSTIN  
(going over to examine him)  
Have you used before?

JIM  
Not much man I swear… please, I can't take my sample like this I'll test positive…

JUSTIN  
(pulling a syringe from a medical bag)  
Well, you're in luck, I just happen to have something here that will make all the bad go away

JIM  
Don't patronise me, just give me the shot…

Jim is almost doubled over, and clutching his stomach.

JUSTIN  
Or what? You'll test positive and maybe lose your scholarship? Bit late for that isn't it?

JIM  
My scholarship was reinstated

JUSTIN  
Only because the team couldn't afford to lose another player… Not after you framed Nathan Green and got him kicked off the team…

JIM  
I don't know what you're talking about

JUSTIN  
Yes you do (he taps the needle to the side of his leg) and unless you want this shot, you'll tell me the truth, all of it…

JIM  
Just give it to me, c'mon, what is this…

JUSTIN  
Payback; I hear it's a real female canine…

Jim is in a great deal of pain. He is squinting, and clutching his stomach. His vision is blurred.

JIM  
Alright, I did it. I framed Nathan so I wouldn't lose my scholarship… Is that what you want to hear?

JUSTIN  
Is that the truth?

JIM  
(agonised)  
Yes…

JUSTIN  
Then that's what I want to hear…

He hands the syringe to Jim, who injects himself immediately. The coach, Nathan and the rest of the team walk out from behind the lockers. They had heard the entire interlude. Jim looks up at Nathan.

JIM  
(to Nathan)  
I'm sorry man, I didn't want to… but I didn't deserve to lose my scholarship…

NATHAN  
Neither did I…

Nathan turns to Justin

NATHAN  
Thanks, coach, what can I ever do to repay you…

JUSTIN  
Just ensure you make it to the big league, eh… And thank your parents; they've done a lot for you… 

CUT TO; Justin walks into the hotel room and throws his car keys on the desk. Dina and Mercedes lay on his bed, absolutely exhausted. Containers containing and half-eaten hotcakes are strewn across the floor and on the bed. Most of them are empty.

JUSTIN  
Big day?

DINA  
We managed to obtain and lose employment in one day

MERCEDES  
Hotcakes are good…

DINA  
Where's Luke and Trini?

JUSTIN  
Just outside of the city… they've gone after that doctor…

CUT TO; Luke and Trinity are asleep. Trinity lay wrapped in Luke's arms, and not underneath the bed. Camera RUSHES TOWARD Trinity's eyes, which suddenly open wide on the sound of a gunshot. She grabs her back, as if she is in pain. She wakes Luke up by shaking him.

TRINITY  
Luke, wake-up, we have to go…

CUT TO; Car park out the front of hospital. Luke and Trinity pull up on Luke's motorbike. They jump off quickly and run beside a parked car, where they find Dr Bernard laying in a pool of his own blood. He has been shot. Trinity tries to comfort him, but it is clear that he is dying.

LUKE  
I'll get a doctor…

TRINITY  
Get down! The sweepers are still around

LUKE  
How do you know?

TRINITY  
I know…

Sputtering, Dr Bernard tries to talk to them

DR BERNARD  
I'm… (cough) I'm sorry

TRINITY  
It's okay…

DR BERNARD  
I…. (cough, splutter) I wanted, I wanted to help… but (cough, splutter) I was afraid..

TRINITY  
Don't try to talk…

He hands her a piece of bloodied paper… On it is written the word 'Mentor T13'.

DR BERNARD  
It is important… urgent…

LUKE  
Why?

DR BERNARD  
For your survival…

Dr Bernard dies. Trinity and Luke look at each other fearfully as the screen fades to black…

NEXT WEEK: Survival - Mercedes must pretend to be an heiress in an attempt to draw out an assassin, while Luke and Trinity delve further into the depths of the Centre 16 conspiracy…...


	4. 104 Survival

As Miss Monroe faces 'Review', Mercedes poses as an heiress to draw out an assassin and Luke and Trinity discover more about Mentor T13...

** FILE FOUR – Survival  
**(Written by Vokal)

FLASHBACK – YOUNG MERCEDES ~ 5 years old lies in bed asleep. Her room is not very girlie, and there are posters of cars on the wall. We suddenly see a figure dash across the room, and come over to her bed. The figure puts their hand over her mouth. She wakes up with a start, and begins to try and scream, but her cries are muffled. YOUNG JUSTIN ~ 7 years old, walks into the room, after hearing the commotion. He sees the figure, and stares, frightened. The figure releases it's hold on Mercedes' mouth, and she begins to scream, terrified. Justin goes to run, but the figure garbs his wrist. He begins to call out

YOUNG JUSTIN  
Mom! Mom! Help!

Justin drops to the ground. From his POINT-OF-VIEW we see a woman's feet enter the room. She is wearing a long nightgown that reaches the floor. She is Justin and Mercedes' mother.

JUSTIN AND MERCEDES' MOM  
(desperate, frantic)  
What are you doing? Let them go, let them go!

Still from Justin's POINT-OF-VIEW (from the ground), we see her struggle with the shadowy figure. The figure has YOUNG MERCEDES underneath his arm. She is still screaming. From Justin's POINT-OF-VIEW we see his mom fall suddenly and unnaturally to the ground, her back to him. He reaches for her, but he is pulled from behind. The figure picks him up and holds him tightly, despite his struggles. The figure steps over their mother and out the door. The kids cry out.

JUSTIN AND MERCEDES  
Mom! Mom!

Mercedes wakes up, and her face is stained with tears. She sits up to see Justin sitting on a chair at the end of her bed. He also looks sad, and he is holding the letter from their mother, and the key, his hands trembling.

JUSTIN  
She wouldn't have done it…

MERCEDES  
(already knowing the answer)  
Done what?

JUSTIN  
Given us up for adoption… I mean, I remember being taken from our home… do you?

MERCEDES  
Yes… but Uno said

JUSTIN  
I know what Uno said… but she wouldn't have done it…

MERCEDES  
I know she didn't, not in the end anyway, but the paperwork was all filled out, she was going to…

JUSTIN  
Then why didn't she?

MERCEDES  
I don't know…

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

CUT TO; Centre 16, Prodigy Wing main foyer.

**Text On Screen:   
Prodigy Wing  
Centre 16  
Salt Lake City, Utah**

Miss Monroe walks in. She seems flustered, unusually not in control. She also seems a little nervous. JC greets her with a smile. She smiles back at him weakly, but powers ahead to her office. She passes Rhoda, whose desk is out side Miss Monroe's office. Rhoda looks up at Miss Monroe as she asks;

MISS MONROE  
Is he in yet?

RHODA  
Mr Johanesson is waiting in your office, yes.

Miss Monroe groans inwardly, and continues into her office reluctantly. She opens the door and is greeted by Mr Johanesson.

MISS MONROE  
(smiling falsely)  
Mr Johanesson, I'm glad to see you again

MR JOHANESSON  
No you're not. Anyway, you obviously know why I'm here

MISS MONROE  
Review

MR JOHANESSON  
Yes, review.  
(he looks at her disapprovingly)  
It's been four months, Miss Monroe, and you are yet to make any progress in reclaiming our lost property.

MISS MONROE  
I assure you sir, much progress has been made…

MR JOHANESSON  
(disbelieving)  
Oh, I'm sure of it… However, I do have reason to believe you are following your own agenda, Miss Monroe, and not acting in the best interests of this project, and of The Centre. However, that will soon change.

MISS MONROE  
Excuse me, sir?

MR JOHANESSON  
I'm not passing judgement, I am simply just offering some incentive

MISS MONROE  
Incentive?

MR JOHANESSON  
Yes, incentive.

MISS MONROE  
Which would be?

MR JOHANESSON  
I am appointing my close, personal friend, Mr Fallen, as Co-director of Special Projects.

MISS MONROE  
(no longer hiding her irritation)  
And this is incentive how?

MR JOHANESSON  
Fallen can either work with you or against you in an attempt to track down the escaped subjects; it's up to you. Though healthy competition never hurt anyone, Miss Monroe…

MISS MONROE  
But sir…

MR JOHANESSON  
Do not argue with me, Miss Monroe, this project is a failure to The Centre, and to The Triumvirate, and you know how the Centre deals with failures… For your sake, and the sake of your L&R team, you will accept these new circumstances… Your team, and this entire wing, is now officially on a 3 month review, at the end of the review, we will determine who has made the most progress, you or Mr Fallen, and that person will be kept on as the permanent Director of Special Projects.

MISS MONROE  
And what happens to the other person?

MR JOHANESSON  
That person will be…. 'cut loose'

MISS MONROE  
I see…

MR JOHANESSON  
Fallen will arrive this afternoon, Miss Monroe, and I do not want to hear any reports of you not cooperating, understand?

MISS MONROE  
Perfectly

MR JOHANESSON  
Thank-you, I'll see myself out…

Mr Johanesson leaves Miss Monroe's office. Miss Monroe sits at her desk, runs her fingers through her hair and sighs.

CUT TO; Hotel room. Luke, Dina, Mercedes and Trinity sit on the bed and on the floor, facing Justin, who is holding up a newspaper. Camera CLOSES IN on headline; 'Heiress receives death threats as father's funeral approaches', and the date of the paper; 'October 12'. He is smiling profusely.

JUSTIN  
So, what do you think?

LUKE  
It's… a… newspaper….

JUSTIN  
(pointing to the headline)  
'Heiress receives death threats as father's funeral approaches', it's just our sort of thing

LUKE  
(exasperated)  
No Justin it's your sort of thing. We're in New York for a reason, this is not it

JUSTIN  
But she's in trouble…

LUKE  
And so are we… Trinity sensed something urgent about this 'Mentor T13', and Bernard said it was important for our survival. Now, for the last 2 months we have been off on your do-good quests, but now it is time for us… We need to know Justin…

JUSTIN  
Luke, I'm not asking

LUKE  
I know and that's what scares me… you're just expecting…

DINA  
Would the both of you just stop it! There you are, just arguing with yourselves. Have you ever stopped and thought about what _we_ wanted?  
(motioning to herself, Trini and Mercedes)  
In case you haven't noticed, we're in this too…

LUKE  
Dina, no-one's saying that, it just that…

DINA  
It's just that you don't care. Luke, you're just after revenge, and Justin, you're just after forgiveness… and let me tell you my chemically enhanced friends, neither of you are going to get either if you keep fighting like this…

MERCEDES  
She's right

JUSTIN  
Mercie, I just can't turn my back on this…

MERCEDES  
I know, so do you think it's any easier for Luke to turn his back on his quest?

LUKE  
You know, it's sort of not a quest, you know, just a little insignificant search for something integral to our survival, but whatever you want to call it…

TRINITY  
I am sure that if we do not search for the answers to this whole 'Mentor T13' thing than we'd be making a big mistake…

JUSTIN  
You're just saying that because you and Luke are…

LUKE  
(standing up and grabbing Justin by his shirt front)  
I warn you not to finish that sentence, my friend…

MERCEDES  
We can do both, okay? We can save the rich girl _and_ find out more about T13, all we have to do is work together… or apart actually, but that's not the point. Justin; you, Dina and myself will do the heiress thing, and Luke; you and Trini can find out all you can on T13. How's that sound?

Luke looks at Justin menacingly, and Justin glares back

JUSTIN AND LUKE  
(in unison)  
Fine

MERCEDES  
Right then…

CUT TO; Miss Monroe's office, Centre 16. JC, Calvin and Roschelle sit in front of her desk. Miss Monroe stands behind it. They all look at her, JC seems frightened

JC  
Review? Could it sound any creepier?

ROSCHELLE  
Don't worry, JC, I've survived at least 5 reviews during my time at the centre.

CALVIN  
Others haven't been that lucky… After the subjects escaped initially, Your father and I were put under review…  
(he realises his mistake as Miss Monroe raises an eyebrow)  
Not that The Centre had anything to do with your fathers death…

MISS MONROE  
If there's anything I've learnt during my four lovely months at Centre 16 it's that The Centre is capable of anything…. We're also receiving a new man… Mr Fallen

CALVIN  
Fallen? I thought he was dead?

ROSCHELLE  
He is

MISS MONROE  
Obviously not anymore…

ROSCHELLE  
No, he is, I performed the autopsy…

MISS MONROE AND JC  
(in unison)  
Ewww…

CALVIN  
Could be Fallen Junior, he's about the same age as Miss Monroe…

MISS MONROE  
Whoever… whatever… is joining the team; they're bound to be dangerous, and sitting in Johanesson's lap, so we'll have to watch what we say, what we do… and how we act  
(she looks pointedly at Roschelle)

ROSCHELLE  
What do you mean?

MISS MONROE  
Well, anyone would think that you didn't want to reclaim the subjects

ROSCHELLE  
I can't help what I feel…

MISS MONROE  
But you can help how you act… no more slacking off, team, if I can put my revenge on hold, you can put your feelings on hold, Roschelle. JC, you are going to act like you actually want to work here, and Calvin, you are going to start actually working. Johanesson is right, we haven't been trying to get these mutants, but it's our necks on the line now, so we are going to have to. This is bigger than our own agendas, this is about survival of the fittest, and at this particular moment, we are not looking all that fit…

The three stare at her in disbelief, not quite sure if they should take her seriously

CUT TO; Justin, Mercedes and Dina are sitting on the balcony of the hotel room they are staying at, overlooking the New York skyline. It is around 2pm. Dina and Mercedes stare at Justin in disbelief.

DINA  
That is not a plan; that is absurdity. Mercie, tell your so-called genius brother that that is not a plan.

MERCEDES  
That's not a plan. I could never pass as an heiress.

JUSTIN  
Of course you could. The heiress Matika has never been photographed and this is her first time in the USA, so there's no risk of anyone knowing that you're not really her. Not even her half sister knows what she looks like, or her real name in fact. You'll be fine.

MERCEDES  
So let's get this not crooked…

DINA  
Straight

MERCEDES  
We're going to kidnap the real heiress, then you want me to pretend to be the heiress, and you and Dina will pose as my bodyguards, we will skilfully use our advanced intelligence to discover who the would-be assassin is and then we lay a trap for them, drawing them out into the open and exposing their identity to actual authorities.

JUSTIN  
Yes

MERCEDES  
It all sounds a small complicated to me

DINA  
Little

MERCEDES  
What?

DINA  
It all sounds a _little_ complicated…

MERCEDES  
(to Justin)  
See, Dina agrees with me

Dina sighs, exasperated

JUSTIN  
We must have simmed this at least a million times, death threats I mean, we're basically professionals. Besides, we're geniuses, how hard could it be.

Dina and Mercedes look at him sceptically

CUT TO; Centre 16, Miss Monroe's office. Miss Monroe is at her desk, writing on something. We hear the door open. She does not look up.

MISS MONROE  
Unless you're incredibly gorgeous, and with the means to help me escape from this hell they call a Utah fall, don't enter.

A gorgeous man about the same age as Miss Monroe enters the office

MISS MONROE  
(slightly seductive)  
Hello…

MR FALLEN  
Hello I'm Mr Fallen, you're new partner…

MISS MONROE  
(smiling wickedly)  
Please, make yourself at home…

She motions to the chair on the other side of her desk

MISS MONROE  
I am Miss Monroe…. (she shakes his hand) Glad to meet you

MR FALLEN  
No you're not, you're probably cursing me on the inside, and secretly plotting ways to remove me from The Centre

MISS MONROE  
(sarcastically)  
It's like we're the same person…  
This, communication, between you and me, it's not going to happen often. I don't talk to you, you don't talk to me, and whenever you see me, you'll dutifully scuttle away and back under whatever white, high class rock you came from, understand?

MR FALLEN  
Well, they said you were tempestuous…

MISS MONROE  
They lied, I'm a bitch… no wait… I am _the_ bitch, isn't that what the T-Shirt says? Never mind, all you have to remember is that _I _am in charge around here, I make the orders, I break the orders and I _am_ the orders.

Mr Fallen looks at her, surprised

MISS MONROE  
I am glad we have an understanding…

At that moment, JC enters the office

JC  
Miss Monroe, we've got another location (realising Mr Fallen is there)… another… uh… um… prodigy lair, in Massachusetts

MISS MONROE  
(angry)  
Thank-you, JC

JC stands for a moment, as if awaiting further orders. Miss Monroe repeats herself, not happy.

MISS MONROE  
(angry)  
Thank-you, JC

JC still stands there, not saying anything…

MR FALLEN  
I agree with the boy, we should really head out to that lair…

Miss Monroe glances at JC angrily

JC  
(nervously)  
I didn't say anything…

MISS MONROE  
In the last two months alone, we have been to 43 of the so called 'prodigy lairs' and it has accomplished nothing. What exactly gives you, Mr Fallen, the credibility to tell me what I should and should not do?

MR FALLEN  
If my inferences are correct, and these prodigies are in fact replicating the actions of another escaped pretender, than they should leave clues at these 'lairs', clues regarding their next destination and such. It's like a competition, a challenge so to speak, daring you to try and follow, a battle of the brains.

MISS MONROE  
(a bit taken aback)  
And what makes you an expert?

MR FALLEN  
I have extensively studied other such escapes and pursuits… let me guess, you had me pegged as a rich, upper-class, white, college graduate who gets the job just because his daddy used to know the spook who runs this place…?

MISS MONROE  
(sarcastically)  
Not at all…  
(turning to JC)  
Ready the bitch mobile, we're going to Massachusetts…

CUT TO; Trinity lies on her stomach on a bed, reading a book. Camera CLOSES IN on the title; 'Advanced Martial Arts'. Trinity is reading intently when Luke walks in. He walks past her slowly, watching her, and goes over to his desk. He continues watching her.

LUKE  
Whatcha doin'?

TRINITY  
Reading

Luke walks over to the bed and glances at her book

LUKE  
'Advanced Martial Arts', what's that for? Do you have a sense that we're going to run into trouble?

TRINITY  
No, I just always wanted to learn it… And I was walking past the Library so I thought, hey why not?

LUKE  
Library?

TRINITY  
You do not what a library is, don't you? You know, big building, lots of books, musty smell and students in pastel clothes?

LUKE  
(embarrassed)  
Of course I know what a library is, I've just never, you know, been to one…

TRINITY  
Sure have missed a lot of things haven't you?

LUKE  
(watching Trinity in a slightly seductive manner, Trinity is unaware, as she continues reading her book)  
You have no idea…

Luke's gaze traces the curves of her body, finally resting on her lower back. She can obviously sense him watching her.

TRINITY  
(suspiciously)  
What are looking at?

LUKE  
(embarrassed)  
Your… uh… um… tattoo. Why'd you never get it removed?

TRINITY  
(defensively)  
Well you've still got yours haven't you?

LUKE  
Yeah... I was just…

TRINITY  
I really don't know, Luke, to be honest. I just don't think I'm ready to get rid of it yet, you know, it's part of who I am…

LUKE  
(glad he got himself out of a potential situation)  
Yeah… me too…

CUT TO; New York airport. Dusk. A plane lands on the runway.

CUT TO; Security guards surround a young woman who we can not see properly. They walk her out of the airport, and toward a waiting Limo. A security guard taps on the window, and the driver winds it down. We see the security guard nod toward the driver, whose face we can not see. The young woman steps into the Limo, and it pulls away.

CUT TO; The back of the Limo. The heiress Martika sits alone in the large seats. She sits silently. Suddenly, the door opens, and Dina and Mercedes hop into the Limo.

MARTIKA  
Who are you, what are you doing here?

The girls just smile at her

MARTIKA  
You shouldn't be here…

Dina smiles wickedly and pulls out a roll of duct tape.

MARTIKA  
(frightened)  
Driver!

The glass separating the driver from the back is lowered, and the driver turns around; it is Justin. He smiles.

CUT TO; Balcony of the hotel room where the prodigies are staying. It is dusk. Lights are just being turned on in the city they are above. Justin, Dina and Mercedes walk out onto the balcony, where they have Martika taped to a chair. Dina smiles, as Martika looks frightened.

DINA  
Don't worry girl we got you figured…

JUSTIN  
You know, I thought she was going to talk right through that duct tape…

Mercedes walks over and goes to take the tape off her mouth.

JUSTIN  
Now, if we take this off, you've got to promise not to scream this time… OK?

Martika nods and Mercedes rips the tape off.

MARTIKA  
(screaming)  
Ahhhhhhhhhhhhhhhhhhhhhh!

Mercedes jumps back in fright

MARTIKA  
Do you know how many laws you just broke? And taping me to a chair; NOT COOL. You have no idea what you've gotten yourselves into, my security team are going to be on you like single mothers at a Bloomingdale's sale.

DINA  
(sarcastic)  
Yeah, just like they were when we nabbed you in the first place…

JUSTIN  
We're here to help…

MARTIKA  
Help? Help?

JUSTIN  
We know that you've been receiving death threats, and we're here to make things alright again…

MARTIKA  
Things have never been alright… I have spent my whole life living in the Swedish mountains while my father was off living his wonderful life in the US, then he dies and I find out I have a half sister, and a half a trillion dollars that people want to kill me for… Now I get kidnapped by obvious amateurs who tape me to a chair on the balcony of their hotel…

DINA  
We are not amateurs!

MARTIKA  
Whatever…

MERCEDES  
I don't know about you guys, but I'm about to off her myself…

Justin turns to Dina and Mercie, and nods for them to leave. They do. He walks over close to Martika and kneels in front of her so his eyes are level with hers.

JUSTIN  
Look, I know what it's like to grow up without a family, to be somewhere you don't want to be, and then for all that to change. Suddenly you're thrust into this big, bad world that you don't understand. Other people have always done everything for you, and suddenly you feel like it's just you, and there are people after you, bad people who want to hurt you… believe me I know what it's like…

Martika seems to understand, and relate to what Justin is saying.

JUSTIN  
So just here me out okay? I have a plan… you don't have to be afraid any longer…

Martika nods in agreement, Justin smiles…

CUT TO; A warehouse. Miss Monroe, JC, Mr Fallen, Roschelle and Calvin are walking around and having a look. We presume this is the Prodigies' last lair.

MISS MONROE  
(sarcastic)  
Ooh look a warehouse, wait until my friends hear about this, none of them have ever been to 44 empty warehouses in two months…

MR FALLEN  
I'm surprised…

MISS MONROE  
What? That I find the prospect of investigating yet another dead-end somewhat monotonous…

MR FALLEN  
No, that you have friends…

MISS MONROE  
Quick. Not funny, but quick…

MR FALLEN  
(smiling triumphantly)  
Well, people have said that I have a certain comedic talent…

MISS MONROE  
They lied…

CALVIN  
I agree with Miss Monroe, we are wasting our time…

ROSCHELLE  
Wait, I think I've found something…

They all rush over to where Roschelle is. She holds up a bag, inside it is a cardboard pop-up clue. The sequence is as follows;

A picture of a red apple in front of a blackboard, a cup of tea and a black cat.

MISS MONROE  
What a gaudy, conspicuous, tacky clue. I thought our escapees had more brains than that.

MR FALLEN  
So what does it mean?

MISS MONROE  
Well it obviously means… uh… um… apple-tea-cat, of course.

ROSCHELLE  
I don't think so, but you are right about one thing

MISS MONROE  
And what would that be?

ROSCHELLE  
It _is_ a conspicuous clue, they must think we are very stupid…

MR FALLEN  
And are they wrong? They have left such a basic clue because they obviously don't think you are capable of understanding more difficult ones, for example, how many other clues have you actually decoded?

JC  
Well… none actually… but we didn't know that they left clues at that time…

MR FALLEN  
But did they know that you didn't know? This means something (the clue) and I intend to find out what…

MISS MONROE  
Don't you mean _we_?

MR FALLEN  
No, I don't.

Mr Fallen walks out of the warehouse carrying the clue. Miss Monroe watches him angrily.

* * *

CUT TO; Carnival, night. Families fill the narrow passageways, clutching stuffed animals, ice-creams, cotton candy… Luke and Trinity come on screen. Luke has a sceptical look on his face. Trinity is smiling, enjoying the atmosphere.

LUKE  
Just how hit-and-miss did you say these visions of yours were? 

TRINITY  
Trust me Luke, we're in the right place. We have to find somebody named Turner… he has a bulldog tattoo on his right bicep, and he smells bad. 

LUKE  
What, you're having scented visions now?

TRINITY  
They're getting stronger, yes. 

The two approach a stand with laughing clowns. Children are attempting to put the ball in the clown mouth to win prizes. Luke studies the clowns closely. As he watches the heads turn continuously, he exclaims; 

LUKE  
I don't understand 

TRINITY  
There's, like, a motor down there… 

LUKE  
No, I understand how I just don't understand why 

TRINITY  
You win prizes… 

LUKE  
(fascinated)  
Really? 

He watches the clowns again 

LUKE  
It's really all just a matter of velocity and angles… 

Trinity hands the vendor money, and the vendor hands her some balls. She gives them to Luke 

TRINITY  
Give it a try 

Luke puts the balls in, and they all land in a high number area. The vendor looks on, amazed. 

VENDOR  
You can pick anything you like 

Luke looks toward the board full of prizes behind the vendor. He points to a large purple teddy bear. 

LUKE  
I'll have the bear, thanks 

He takes the bear and gives it to Trinity, who smiles her thanks. Luke turns back to the clowns… 

LUKE  
You know… they're rather creepy… 

CUT TO; Dina sits on a bed in the hotel room. Justin and Martika come inside from the balcony. Martika is untied. Dina is shocked at this. 

DINA  
Jus, what are you doing? 

JUSTIN  
She's coming with us… 

DINA  
What? 

JUSTIN  
Martika is pretending to be bodyguards with us… 

DINA  
But she's not even a Pretender… 

MARTIKA  
Look, I don't know whassup with you guys, you seem to have a few… issues, but I want to be involved with this… 

JUSTIN  
She won't get hurt, Dina… 

DINA  
It's not her I'm worried about… 

MARTIKA  
(saddened)  
I don't have anywhere else to go… 

Dina feels sorry for Martika. She sighs, showing her reluctant agreement with the situation. At that moment, Mercedes steps out of the bathroom. She is wearing an expensive gown, as if she was going to a high-class event – which she is. 

DINA  
(to Mercie)  
Let's get your hair done, girl… 

CUT TO; A limousine pulls up at the front of a fancy-looking hotel. Justin is the first to step out. He is wearing an all black suit. He turns and helps Mercedes out of the Limo, who is barely recognisable dressed in the expensive clothes she is wearing, and the extremely feminine nature of her outfit. As she steps out, cameras go off around her. Dina and Martika get out of the Limo next, also wearing all black. Justin walks up beside Mercie and whispers in her ear 

JUSTIN  
Here we go… 

CUT TO; Debriefing room, Centre 16. 

**Text On Screen: Briefing Room  
Prodigy Wing  
Centre 16  
Salt Lake City, Utah **

Mr Fallen and Calvin are seated at a long conference table. Roschelle is up front, and JC sits besides her at his laptop, that is connected to a projector. Projected on a large white screen behind Roschelle is a photograph of Justin. She has in her hand a collection of folders – The Red Files. 

ROSCHELLE  
…Subject 06, with Pretender abilities and specialising in Strategy and Warfare. Aged 7 years at procuration, 23 years at escape. 

The photograph projected changes to a photo of Trinity 

ROSCHELLE  
And this is subject 03, one of the three Empaths we had in the Prodigy group, however she was the only Genetic Empath… 

MR FALLEN  
I'm sorry, what does that mean? 

ROSCHELLE  
03 was born with the ability to absorb peoples feelings, emotions and personalities when she comes into contact with some sort of related stimuli. Our other Empaths are Induced Empaths, that is, we chemically induced their empathetic abilities when they were young… 

She turns back to the photo 

ROSCHELLE  
Subject 03 was procured shortly after birth, and was aged 16 at the time of the escape… 

Suddenly Miss Monroe bursts into the room; she is angry 

MISS MONROE  
Fallen! What do you think you're up to? 

MR FALLEN  
I'm sorry? 

MISS MONROE  
Nobody convenes a briefing but me… 

MR FALLEN  
(not really meaning it)  
I'm sorry Miss Monroe, I just thought it would be a wise move if I were to become familiar with the subjects I was actually trying to locate… 

MISS MONROE  
You thought wrong… 

MR FALLEN  
(harshly)  
Miss Monroe, need I remind you that I too am director of this project, and I will call my own shots. Now, I am not seeking your approval on this… Roschelle, please continue with your presentation… 

Miss Monroe stands slightly dumbfounded by Fallen's response. She had underestimated him… The photograph changes to that of Luke. 

ROSCHELLE  
Subject 07, specialising in Computer Systems Operations; this boys brain is like a hard drive, and his fingers like a modem, so far there exists no computer system he hasn't been able to crack. Combined with his pretender abilities, these skills make him almost impossible to pursue… 

MR FALLEN  
Pretender? 

ROSCHELLE  
The ability to become anyone they want; literally stepping into the role of any person… 

MISS MONROE  
Seems I only pretend to be in charge around here… 

She gives Fallen a pointed look 

MR FALLEN  
(to Roschelle)  
Continue… 

ROSCHELLE  
Aged four at procuration, 20 years at escape… 

CUT TO; A large classy room hosting a party. Trinity, disguised in her feminine attire as the heiress Martika, smiles and nods at a group of young men she is talking to. We see Justin, Dina and Martika standing close by. 

JUSTIN  
(to Martika)  
What is this function for anyway? 

MARTIKA  
My father's company. Sort of like a welcoming, I guess… 

DINA  
Welcoming? 

MARTIKA  
Yes, I'm supposed to take over the company… but I don't know the first thing about business… 

JUSTIN  
Have you told anyone that you don't know what to do? 

MARTIKA  
(sad)  
Who do I tell? Dad never consulted me over his will, I mean, the guy came to visit me like, three times a year…. 

A young woman walks over to Mercedes, and introduces herself… 

GABRIELLE  
Hi, Martika right? I'm Gabrielle… 

Mercedes looks at her blankly 

GABRIELLE  
Your father's other daughter? 

MERCEDES  
Oh, Gabrielle, right… right… 

Dina, Justin and Martika make their way over to Mercedes. The young men she was talking to have left. 

JUSTIN  
(to Mercie, about Gabrielle)  
Is there a problem, ma'am? 

MERCEDES  
No… no, this is ah my half sister, Gabrielle… 

Martika seems surprised, and watches Gabrielle curiously 

JUSTIN  
Pleased to meet you, I'm Justin, your sister's chief bodyguard 

GABRIELLE  
Half sister, we had different mothers 

JUSTIN  
Oh…

GABRIELLE  
I suppose you'd be needing bodyguards, what with the death threats and all… 

JUSTIN  
Yes…. 

MERCEDES  
Is your mother around? I would like to meet her… 

GABRIELLE  
No, my mother died last year, while daddy was in Sweden… with you 

MERCEDES  
Oh… 

Somebody comes up behind Gabrielle and taps her on the shoulder, whispering in her ear. 

GABRIELLE  
Excuse me, but I have business to attend to… what with daddy's sudden death… 

Gabrielle leaves 

JUSTIN  
(to Martika)  
How did your father die? 

MARTIKA  
Plane crash… on his way over to Sweden… to visit me 

MERCEDES  
Oh… 

CUT TO; Carnival. Night. Trinity and Luke seem to be enjoying themselves immensely at the carnival. Trinity is holding at least 3 large stuffed toys, and Luke carries an equal amount… They are laughing, smiling. Trinity attempts to put some cotton candy in her mouth, but is unable to because of all the toys she is carrying. Luke puts his down, and puts the cotton candy in Trinity's mouth for her. Their faces inches from each other, Luke gazes into Trinity's eyes. Trinity turns her head to the side, smiling, and suddenly sees a bulldog tattoo. She follows the arm it is on with her gaze, and the camera TILTS UP TO REVEAL 

TURNER ~ Male ~ 60 years old 

He is wearing torn, faded jeans and a military top. Trinity taps Luke, and he turns and also sees the tattoo 

LUKE  
Seems we have found our smelly friend… 

TRINITY  
But is he a friend…? 

LUKE  
Only on way to find out… 

Luke walks over to the stall Turner sits behind. He smiles one of his brilliant smiles and asks 

LUKE  
Turner? 

TURNER  
Who's asking? 

LUKE  
(confused, looking around to see if anyone else is standing behind him)  
Um… I am… 

TURNER  
What do you want kid? 

LUKE  
We need to talk to you about T13 

A flash of recognition crosses Turners face when Luke mentions T13, he obviously knows what it is. He puts a sign on his stall saying 'back in five', and motions for Luke and Trinity to follow him into the small tent behind the stand. 

TURNER  
Better come out back… 

Trinity looks at Luke, concerned, but he just shrugs and follows Turner, Trinity follows Luke. 

CUT TO; Miss Monroe's office. Centre 16. Night. Miss Monroe sits at her desk, a notepad in front of her. She is writing on it. The page is as below; 

Apple/Blackboard – School? Teacher? 

Cup Of Tea – Tea? Cup? 

Black Cat – Unlucky? Bad luck? Halloween? 

She observes what she has written. Suddenly, a look of discovery crosses her face. She realises what the clue is. She makes changes to the page.

Apple/Blackboard – School? Teacher? **MENTOR**

Cup Of Tea – Tea? Cup? **T**

Black Cat – Unlucky? Bad luck? Halloween? **13 **

She looks at the page grimly, understanding what the clue was trying to tell her.

MISS MONROE  
(whispering)  
They know… they know about Mentor T13… 

CUT TO; Calvin's office. Miss Monroe enters and throws down the pile of letters she tore from the files in the last episode on Calvin's desk. Calvin sits at his desk. He looks up at her, calmly and seemingly unfazed by the situation. 

MISS MONROE  
What is Mentor T13? 

CALVIN  
(playing dumb)  
I don't know Miss Monroe, care to enlighten me? 

MISS MONROE  
Calvin… 

CALVIN  
What? 

MISS MONROE  
This is important… 

CALVIN  
(forcefully)  
Miss Monroe, I do not think you understand just what is at stake here. We are on Review and we have just been assigned a new member who, unlike most other idiots at this centre, seems to know what he's doing. Do you get it? It is you or him, not both of you will walk away from this, so I suggest you drop whatever personal agendas you may be harbouring, and get on with the job… 

MISS MONROE  
Just what is going on here? 

CALVIN  
It's The Centre, what's not going on here. (he sighs, regaining his calm exterior) Things work differently here than in your New York Centre Consultancy Firm. Things are slightly more… high risk. 

Miss Monroe narrows her eyes and stares daggers at his throat 

CALVIN  
(slightly smirking)  
Survival of the fittest, Miss Monroe, survival of the fittest 

MISS MONROE  
(not really meaning it, threatening she will leave)  
Then I want out… 

CALVIN  
No one leaves The Centre, Miss Monroe, not alive… 

Miss Monroe looks down at him, her eyes fierce and determined 

CALVIN  
You're going to have to catch those subjects… preferably before the end of Review… and while you're still able… 

Miss Monroe glares at him once more, and then turns abruptly and stalks out of his office. After she has left, Calvin retrieves the pile of letters Miss Monroe had thrown on his desk. He shuffles them in his hands, and closes his eyes for a brief moment. He has a FLASHBACK; 

YOUNG CALVIN ~ mid 40's, and YOUNG MR MONROE ~ 46 years old. They are in the hall, arguing, as in Trinity's vision in **1.03 – Kick.**

MR MONROE  
You know we can't do that Calvin, sooner or later someone is going to realise… 

CALVIN  
Think of the project, Malcolm, think of Prodigy. 

MR MONROE  
I am thinking of the project, we can't do anything that may jeopardise its progress. 

CALVIN  
These kids need this… you know it 

MR MONROE  
Get rid of it 

Calvin looks at him reluctantly 

MR MONROE  
(yelling)  
Get rid of it! 

Calvin stirs from his flashback, and characteristically strokes his chin in thought. 

CUT TO; Convention hall where Dina, Mercie, Justin and Martika are. Justin and Martika sit alone at a table, lavishly decorated. Soft music plays in the background, courtesy of a string ensemble in the corner of the room. They are mid-discussion. 

MARTIKA  
So you never really knew your parents either? 

JUSTIN  
No, my father died when I was four, and I was… separated from my mom when I was still a boy. 

MARTIKA  
I know what that's like. Not having someplace that you can call home, you know, like even when the worst stuff happens, you can always go back there and feel safe, and like you belong. People who love you. But I guess you guys are pretty close.  
(she motions to Dina and Mercie, who are across the room) 

Justin has a quick FLASHBACK to the escape. He and Mercedes run hand in hand across the desert. Next, he remembers meeting Luke at the beginning of the year in a park; they embrace. He also experiences a FLASHBACK to all of them eating waffles and ice-cream at the waffle stand; (end of episode one). 

JUSTIN  
Yeah… 

MARTIKA  
Like family? 

Justin smiles as he watches Dina and Mercedes across the room. Mercedes picks up a small finger-food from a tray brought to her by a waiter. A look of astonishment crosses her face as she marvels at the small wonder, and Dina laughs at her. 

JUSTIN  
Yeah… family 

Suddenly, the sound of squealing tyres is heard, and then an explosion at the entrance to the hall. The glass windows shatter, and Justin pushes Martika to the ground. A small fire erupts, and Justin rushes to get a fire extinguisher. He puts out the flames. Amidst the rubble is a silver cylinder. Justin takes off his coat, revealing a gun and holster. Using his coat to protect his hands from the hot metal, he unscrews the cylinder. He pulls from it a rolled piece of paper. It is a note reading; 

'GO HOME' 

Martika moves up beside Justin and reads the note over his shoulder, she turns and walks quickly away. Dina and Mercedes then walk up beside him, and the three stare out over the small remaining flames licking at the burnt items and down the highway to where the culprits had escaped. 

CUT TO; Small tent. Night. Luke, Trinity and Turner sit around a small card table in the middle of the tent. A dim light sits on it, casting mystical shadows on the coloured walls encasing them. All the stuffed toys Luke and Trinity have won also sit around them. 

LUKE  
We need to know about Mentor T13, about Centre 16… 

Turner looks slightly confused. 

TURNER  
I don't know nothing about no Centre, but during 'Nam, we took T13 like it was coffee. 

TRINITY  
'Nam? 

TURNER  
The Vietnam War… geez kid where you been, under a rock? 

TRINITY  
A bed, actually… 

Turner looks at her confused, Luke is impatient. 

LUKE  
What is T13? 

TURNER  
A drug… a chemical actually, but we could administer it straight to our systems. The government developed it - top secret of course during the cold war, in preparation for chemical warfare. 

LUKE  
What did it do? 

TURNER  
I don't know no technical stuff, but basically the T13 would counteract any chemicals used in chemical warfare… 

TRINITY  
So you were immune to chemical weapons? 

TURNER  
No, but after we were exposed they used to just hook the bloody T13 straight up to us, and it would stop the weapons' effect. 

LUKE  
Sounds to me like some sort of chemical inhibitor, blocking the cell and enzyme activity catalysed by the chemical weapons. 

Turner looks at Luke dumbly 

TURNER  
Yeah, what he said… 

LUKE  
Do you know anything about Centre 16, or Mentor? 

TURNER  
Sorry kid, that's all I know… 

CUT TO; Luke and Trinity talk beside Luke's motorbike, as he tightens straps to hold something down at the back. 

LUKE  
For all we know, T13 could be completely different to Mentor T13. 

TRINITY  
I don't think so. I mean, it makes perfect sense. We are all chemically enhanced in some way. To increase brain capacity, induce empathetic abilities, sometimes just to calm us down. 

LUKE  
But what would they use T13 for? 

TRINITY  
To inhibit the effects of a chemical they gave us… or all of them… 

Luke sighs. 

TRINITY  
Okay, why don't you head back to the hotel and see what you can find on the net, and I'll go to the public library…. Better still, you go to the library… 

LUKE  
You sure? 

TRINITY  
Yeah, it'd be good for ya… 

He smiles a brilliant smile, and the two hop onto his motorbike. As they drive away, we see it loaded with the stuffed animals they won. 

CUT TO; Expensive hotel room. Martika is hurriedly packing clothes into a suitcase. Justin walks in. 

JUSTIN  
What are you doing? 

MARTIKA  
What does it look like? I'm leaving. 

JUSTIN  
Leaving? 

MARTIKA  
Yes, I got the message loud and clear… 

Justin grabs her wrists and stops her packing. He spins her around to face him. 

JUSTIN  
(forcefully, yet not unkind)  
So you're just going to run? Give up? 

MARTIKA  
I'm surviving… 

She turns to start packing again, but Justin stops her. 

JUSTIN  
We'll stop whoever's doing this, I promise. 

He looks into her eyes. 

MARTIKA  
You're not going to get all Kevin Costner on me now are you? 

JUSTIN  
Who's Kevin Costner? 

MARTIKA  
(laughing)  
You're not serious are you? I mean, I've lived my whole life in the Swedish mountains and I know who he is. 

Justin looks at her blankly 

MARTIKA  
(serious)  
Oh… you are serious… He's the bodyguard 

JUSTIN  
A bodyguard? 

MARTIKA  
No, _the_ bodyguard 

Justin looks at like he doesn't understand. She smiles at his childlike innocence. 

Suddenly, Gabrielle bursts into the room. She is crying. 

Justin rushes over to her 

GABRIELLE  
I'm sorry, I'm sorry, I tried to stop him… 

JUSTIN  
What's wrong…? 

GABRIELLE  
I'm sorry 

JUSTIN  
Just calm down, now tell me, what's the matter… 

Martika has come over beside them. 

GABRIELLE  
It was me… I sent the death threats, I just wanted her to go away… but now he has her… 

JUSTIN  
(panicked, realising that Mercie may be in danger)  
Who has her, Gabrielle, who has her? 

GABRIELLE  
(calming slightly, through sobs)  
Garth Radden. He's the director of the company. He helped me to organise everything. I never wanted anything to happen to her… but Garth has taken her, he doesn't want her to take over the company. 

Justin sighs. This will be easy for him, seeing as he specialised in strategy and warfare back at the centre. 

JUSTIN  
It's alright. Radden doesn't have your sister. 

GABRIELLE  
What do you mean? 

JUSTIN  
We replaced Martika with one of our bodyguards.   
(he motions to Martika beside him)  
This is Martika. 

Gabrielle looks confused. 

JUSTIN  
I'll explain on the way 

MARTIKA  
(as they leave)  
Where are we going? 

JUSTIN  
Mercedes will show us the way 

MARTIKA  
I don't understand 

JUSTIN  
It's probably better that you don't… 

CUT TO; Luke smashes a small window at the public library, lays his leather jacket over the glass, and slides himself through it. He lands with a 'thud' on the smooth floor. He stares in wonder at the rows of books he sees. He walks down each row, running his fingers along the spines of the books. He breathes in deeply, as if to inhale the books themselves. Continuing to run his fingers along the spines of books as he walks down the isles, he comes across a book entitled 'Karma Sutra'. He pulls it out, and opens it up. He begins reading, and his eyebrows shoot up in astonishment. He looks to each of his sides, to make sure no one is around, and then sits at a table and begins to read the book. J 

CUT TO; Justin, Dina, Martika and Gabrielle enter an abandoned warehouse. Dina smiles in amusement. 

DINA  
Just how many abandoned warehouses are in the US? I don't know why you needed Mercie to empath you her location… I could of guessed it! 

As Gabrielle and Martika look on in confusion, Justin turns to Dina 

JUSTIN  
Shhh… Element of surprise, as in, they don't know we're coming… 

A gunshot is heard, and they all jump to the ground. Justin rolls behind some fallen crates and begins to return fire. Dina takes a side position, and also returns fire. 

Martika sees Mercedes tied up in an office toward the back of the building. She runs down, narrowly avoiding gunfire, and unties her. Both her and Mercedes stay low to the ground. 

Justin glares cautiously to where he had been shooting, but he cannot see anybody. Suddenly, he feels the cold barrel of a gun resting on the back of his neck. He drops his gun, and raises his hands in the air. 

Martika picks up the phone in the office and dials. 

Suddenly, Gabrielle appears behind the man with the gun to Justin. She hits him over the head with a plank of wood. He falls to the ground unconscious. 

Two men appear in front of the office with their weapons focused on Martika and Mercedes. Dina and Justin approach them from behind, and point the guns at them. 

JUSTIN  
Drop 'em, or I get nasty… 

CUT TO; The three men are tied up with duct tape in the office. Dina, Mercedes and Justin are preparing to leave. 

GABRIELLE  
(to Martika)  
I'm sorry… it's just that, well you know… Do you think you can forgive me? 

Martika turns her head slightly away. 

JUSTIN  
(looking at Dina and Mercedes)  
Family is the most important thing there is… it would be a shame to lose that… 

Martika turns back to Gabrielle 

MARTIKA  
Maybe we should start again, I'm Martika… your sister 

GABRIELLE  
I'm Gabrielle, hello sister. 

The two girls embrace, and police sirens are heard as Justin goes to move away. 

MARTIKA  
(to Justin)  
Where are you going? 

JUSTIN  
We can't be here when the police arrive… 

Martika looks searchingly into his eyes. 

MARTIKA  
Who are you? 

JUSTIN  
(slightly sad)  
I'm Justin… 

MARTIKA  
You're Justin… 

She leans in and hugs him 

MARTIKA  
Thank-you, Justin 

She smiles at Dina and Mercedes 

MARTIKA  
And thank-you two as well… Must've been terrifying being kidnapped 

MERCEDES  
Don't worry, happens all the time… 

Martika looks at her, confused. Dina, Mercedes and Justin leave, as Martika looks on, sad, but happy she has a new family. Justin turns back as he walks away, and manages a small wave. Martika waves back, her eyes brimming with tears. 

CUT TO; Balcony of apartment overlooking New York City. Dina, Mercedes, Justin and Trinity sit out and watch the sunrise. Luke enters. 

JUSTIN  
(to Luke)  
Did you find anything?… Trinity's already filled us in on the other stuff… 

LUKE  
Yeah… just this newspaper article on a shipment of T13 that was stolen in the eighties. 

JUSTIN  
Good… Good… We'll check that out tomorrow? 

Luke seems confused. 

LUKE  
_We_? 

JUSTIN  
Yeah, we all will, as a family. 

Luke smiles, as does everyone else, and they turn back to watch the sunrise. Luke takes a seat next to Trinity, and Justin watches his family, smiling, hopeful, and together. He stands and walks back into the hotel room. He picks up the phone and dials. 

CUT TO; Miss Monroe lays in bed, awake and staring at the ceiling. She seems to be thinking. Her cell phone rings, and she reaches for it on her bedside table. She picks it up. 

MISS MONROE  
Hello? 

JUSTIN  
Monroe, How are you? 

MISS MONROE  
Who is this? 

JUSTIN  
An old friend… 

MISS MONROE  
You must have the wrong number, I don't have any friends… 

JUSTIN  
But you did once… 

MISS MONROE  
06? 

JUSTIN  
You used to call me Justin.. 

MISS MONROE  
What do you want?

JUSTIN  
To be left alone… why do you want to take us back there…? 

MISS MONROE  
How'd you get this number? 

JUSTIN  
I'm a genius remember… 

MISS MONROE  
Don't you have better things to do, like saving some widow, orphan or lost dog? 

Justin chuckles. 

JUSTIN  
In some ways you're still the little girl I knew as a kid… 

MISS MONROE  
(sighing, and letting her guard down)  
I'm sorry… 

JUSTIN  
What for? 

MISS MONROE  
For not helping you when you needed me to… 

Justin and Monroe have a FLASHBACK to the infirmary, as in **1.01 – Reunion**

JUSTIN  
I didn't think you had recognised me, we hadn't seen each other for 10 years, and then you turn up in the infirmary… 

MISS MONROE  
Roschelle didn't know I knew you… She started at the centre when I was sent away to boarding school… I couldn't let her find out… Do the others know... the other... subjects? 

JUSTIN  
No. They don't. 

FLASHBACK to Justin's living space at Centre 16. YOUNG JUSTIN ~ 13 years old, sits on his bed, his door is open and Mr Monroe and Calvin are in the hall looking at some medical charts. YOUNG MISS MONROE ~ 13 years old sneaks into his living space. 

YOUNG JUSTIN  
(startled)  
Who are you? 

YOUNG MISS MONROE  
I am Miss Monroe, what's your name? 

YOUNG JUSTIN  
I don't have a name 

MISS MONROE  
That's silly, everybody has a name... What do your mom and dad call you? 

YOUNG JUSTIN  
I don't have a mom or dad... I used to... I think... 

YOUNG MISS MONROE  
Then what did they call you? 

YOUNG JUSTIN  
(eyes downcast)  
I don't remember... 

YOUNG MISS MONROE  
Then I will call you Justin... 

YOUNG JUSTIN  
Justin? 

YOUNG MISS MONROE  
Don't you like it? 

YOUNG JUSTIN  
No, it's just... (smiling) It's nice... 

MISS MONROE  
I'm not the same person I was when we were thirteen… 

JUSTIN  
Neither of us are… but why? Why do you want to bring me back? 

MISS MONROE  
I have to… for survival 

JUSTIN  
None of us are going back there… 

MISS MONROE  
(defiantly, and with a grin)  
I'll get you… 

JUSTIN  
(smiling)  
Then let the chase begin… 

Justin hangs up the phone, and looks out to the nearly completed sunrise, contemplating. 

Miss Monroe listens for a few seconds to the dial tone, before putting her cell phone away and walking to the window. She pulls back the heavy curtains and stares out over the horizon, and at the rising sun. She sighs 

** THE END**

NEXT WEEK: Remembered Love - Uno seeks Mercie's help, and secrets are revealed after a young woman is kidnapped...


	5. 105 Remembered Love

When a young woman is kidnapped, secrets are revealed about Uno and another Centre 16 project...

FILE FIVE – Remembered Love  
(Written by Jack, edited by Vokal)

EXT – CITY STREET – LATE AFTERNOON (TWILIGHT) 

An ordinary city street, people abound. Among them, we pick up on a young Asian woman, who in pale jeans, runners and a short-sleeved button down shirt, fits right in with the bustling crowd. She's carrying a beige canvas satchel (typical modern school bag!) which seems to be full up with heavy books. She carries a bottle of water by the neck. 

The woman, who we'll come to know as EMILIA, turns off the street and into a large park which, surrounded by tall trees and bushes, is well hidden from the street. Emilia follows the gravel path at a brisk pace, checking her watch as she goes. 

Just as she passes under an outdoor lamp, two men jump from the brush on one side of the path and push Emilia into the bushes on the other side. Taken by surprise, she is quickly pinned down in the tiny area which seems to have been cleared. 

One of the men looks to other, and the second man nods. The first one, having pressed a cloth in her mouth, relents his grip on Emilia's neck, and stands, content with his boot planted firmly on her stomach. He pulls a walkie-talkie out of his pocket and presses down a button. 

MAN #1 

Captain, we've got her. 

CAPTAIN'S VOICE (from speaker) 

Good. Don't muck it up. 

The first man slips the walkie-talkie back into his pocket, and from a slim pack around his waist produces a capped syringe and a penlight. He pulls off the cap and depresses the plunger slightly, so a small amount of liquid spurts out. Emilia sees the needle and begins to squirm in desperation. 

MAN #1 

Hold still! 

He kneels down, placing his knee on her chest and the small torch in his mouth as he grabs her arm and pins it to the ground, and quickly, professionally, puts the needle into her arm and depresses the plunger. Emilia's struggles quickly subside and her eyelids droop. 

The two men pick her up, support her weight between them, and as they move out of the clearing onto the path, we see her bag and water bottle left lying on the ground. They hurry out of the park the way she came in to find a waiting van, the door open. The two men push her in and man number one slides the door shut as it drives away. 

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

CUT TO: EXT – (OUTSIDE VIEW) CENTRE 16, SALT LAKE CITY, UTAH 

CUT TO: INT – PRODIGY WING TECH ROOM, CENTRE 16 

_ Text on Screen: Tech Room, Sub-level 2 _

_Prodigy Wing, Centre 16 _

JC sits at his computer in the room. He is the only one there, all the other places are unoccupied and most computers are covered with drop cloths. Miss Monroe enters the room, JC oblivious to everything except the information on the screen in front on him. 

MISS MONROE 

(nose screwed up in contempt) 

Nice place you have here. 

JC jumps at the sound of her voice and turns around in his chair. 

JC 

(attempting to be jovial) 

Miss M! What brings you here? 

MISS MONROE 

(slightly confused) 

I thought you did. Didn't you leave a memo on my desk to come down first thing? 

JC 

No. 

MISS MONROE 

You said you had something important to show me. 

JC 

Wasn't me… 

In the background, one of the uncovered computer screens comes to life, a pale blue glow which catches the attention of JC 

JC 

What's that doing on? 

He rolls his seat across the floor down to the glowing screen and is about to turn it off when he pauses, points to the screen… 

JC 

Miss M, you better see this. 

Miss Monroe walks the few paces and leans over the desk. On the screen is an open window, words appearing. 

ON SCREEN: 

**_Q: How much is info on one of your science projects worth to you? _**

The cursor blinks for a minute until Miss Monroe grabs the mouse, clicks 'reply' and taps at the keyboard. 

ON SCREEN: 

_Depends who's asking. _

MISS MONROE 

(while typing) 

JC, can you trace this? 

Straight away, more words appear on screen. 

ON SCREEN: 

**_Don't bother trying to trace this transmission. _**

**_Answer the Question. _**

As Miss Monroe types, JC jumps up, grabs his own laptop and starts fiddling with wires in the background, plugging things in and typing on his own keyboard. 

ON SCREEN: 

_A: If you have good stuff you'll get good money _

The reply pops up 

ON SCREEN: 

**_Q: How much? _**

_A: Enough. Let's meet F2F. _

_**Q: Is it worth **__ **12.**_**_0_**_**5 million? **_

_A: Depends how much there is. _

**_Q: Do you really want to risk it? _**

_A: Risk what? _

**_Q: The info going to someone else? _**

Miss Monroe pauses. The cursor blinks and a final message appears. 

ON SCREEN: 

**_You have until the same time tomorrow. _**

The screen abruptly goes black. JC pops up from behind the screen, a smile on his face. 

JC 

(sly grin, happy with himself) 

Got 'em. 

CUT TO: EXT – RESTAURANT – AFTERNOON 

A freshly painted sign above door proclaims it to be the Rybeck East Tea House. 

Cars drive and people walk by. 

CUT TO: INT – RESTAURANT – AFTERNOON 

Mercedes, dressed in a waitresses uniform, and is bustling about the busy kitchen 

She is frantic as other waitresses duck in and out the kitchen. Her hair is a mess, and she looks quite disorganised as we see her place three bowels on a tray. 

An annoyed waitress hands her a carton. Mercie looks back blankly, and the waitress raises her eyebrows and looks past Mercie to a back door. Mercie nods stupidly and carries the carton away. She walks past a small office toward the back of the kitchen, where a middle aged man who we will know as THOMAS is sitting at his desk working a calculator and scrawling on a notepad. He sees Mercie and looks up, smiling. 

THOMAS 

How's everything going Mercedes? 

MERCEDES 

(lying) 

Good... good.... you know, you didn't have to give me a job Thomas...

THOMAS 

Oh please, it's the least I could do, if it weren't for you and your brother helping me out with that loan shark, i would've lost the place... not to mention my life...

Mercedes smiles awkwardly, takes the carton out back, and picks up the tray of food she was preparing before she went to take the carton out back. 

WAITRESS #1 

(peeks her head through the swinging kitchen door.) 

Mercedes! 

MERCEDES 

(walking toward the waitress) 

Yes? 

WAITRESS #1 

There's someone here who wants to talk to you! 

MERCEDES 

(pauses) 

Who is it? 

WAITRESS #1 

(jerks her thumb over her shoulder) 

He wouldn't tell me his name, just said he needs to see you. 

Mercedes looks over the waitress' shoulder and sees UNO. She gives a small sigh of relief, and she gives a small smile

MERCEDES 

It's okay, I've got it. 

She steps out of the kitchen and into the dining room, placing the tray she was holding on the counter in front of the other waitresses. She takes Uno by the arm and leads him into a quiet room. 

WAITRESS #2 

(looking after them) 

Who was that? 

WAITRESS #1 

(shrugs) 

Maybe he's the boss' fella. 

(glancing to the tray of food. On it are three bowels of a porridge-looking gunk. She winces at the thought of eating it) 

How else would she have gotten this job? 

CUT TO: INT – QUIET ROOM 

Mercedes flicks on the light switch to reveal a bare room. She turns to face Uno. 

MERCEDES 

So what are you doing here? 

UNO 

Giving and receiving… 

MERCEDES 

…what? 

UNO 

Information. Help. 

MERCEDES 

In that order? 

UNO 

Possibly. Listen to this. 

Uno pulls a micro cassette recorder from his pocket and depresses the play button. A TV newscasters' voice is heard. 

NEWSCASTER'S VOICE (from player) 

Police were baffled Tuesday by the disappearance of 21-year-old Emilia Tagaki, a foreign language student at the University of California. As yet no information has come to light about what may have happened. She was last seen in the vicinity of Mason Square Park at 6pm Tuesday evening. She has long black hair, brown eyes, weighs approximately 118 pounds, stands at 5 foot nine inches, and is of Asian appearance. If you have information as to her whereabouts – 

Uno presses the stop button and then rewinds the tape. Mercedes stands, arms crossed across her chest, unimpressed. 

MERCEDES 

Can you tell me what that was about? 

UNO 

That tape was broadcast around the entire state on television, along with a picture. I saw the picture, Mercie. It's one of the Linguals. 

MERCEDES 

(Unbelieving) 

Are you sure? 

UNO 

Her hair's longer, but I'm sure. I couldn't mistake her… I couldn't mistake anyone. 

MERCEDES 

So why are you here? 

UNO 

I need your help. I have her bag and a bottle of water she was holding when she was kidnapped. I want you to see if you can get anything from them. 

MERCEDES 

Why me? Trinity is back at the hotel. And you wouldn't be interrupting my work-day either. 

UNO

(lookin at her skeptically, he had obviously seen her trying to 'work') 

I would rather you. 

MERCEDES 

Trinity wouldn't like to hear that. 

UNO 

She's not going to. 

MERCEDES 

(sighs) 

Let me see if I can get the rest of the shift off.

UNO 

(Raising his eyebrows) 

I don't think that that will be a problem 

CUT TO: Miss Monroe's Office at Centre 16. Miss Monroe is seated, as is Calvin and Roschelle, in "guest chairs", JC leans against the back of Roschelle's. 

_ Text on Screen: Prodigy Wing, Centre 16; _

_Salt Lake City, Utah _

Calvin is scanning a handwritten transcript of the mysterious conversation. He drops it on Miss Monroe's desk. 

CALVIN 

I think they're bluffing. 

ROSCHELLE 

(surprised) 

Why do you say that? 

CALVIN 

(motioning to the paper) 

You said they asked for 12.05 million? 

MISS MONROE 

Yes 

CALVIN 

Nothing is worth that. They couldn't get anyone to buy anything, not even one of the kids themselves, for 12.05 big ones 

JC 

That's it! 

ROSCHELLE 

That's what? 

JC 

They have one of the kids. They have number five. 

MISS MONROE  
And you jump to this conclusion because…? 

JC 

Why else would they ask for such an obscene amount? 

MISS MONROE 

I don't know JC, it's a stretch.

ROSCHELLE 

Wait, there was another project involving gifted children... not too long ago, dubbed project 12, it had five subjects

MISS MONROE

Well, The Centre sure does love terrorising little children

JC 

They don't have information. They have one of the kids, a prodigy or one from this 'project 12' It's got to be something subtle, a game.

CALVIN 

I know one person who knows a lot about these kids… but it's not a game to him. 

ROSCHELLE 

(grimly) 

The Captain 

MISS MONROE 

The Captain? 

CALVIN 

He's a player, interested in only one thing - money. He had sources inside C-16, and managed to obtain highly classified information. 

MISS MONROE

Who?

CALVIN

The original L&R sweepers. He offered them a stab at some cash, and they turned their backs on us faster than you can say 'traitor'. He got away that night in Vegas. 

MISS MONROE 

Why didn't you tell me you knew? 

CALVIN 

No point. He'd already gotten away and the man is as slimy as a snake. 

JC 

Snakes aren't slimy. 

CALVIN 

Thanks for the trivia. The point is, this man knows who and what he's looking for. And if this is him, we have an uphill battle in trying to get the information out of him. 

A short pause. 

MISS MONROE 

JC, did you manage to find out where they were coming from? 

JC 

Still working on it. I got the source code and I'm running it through automatic decryption as we speak. I should have the provider location within the hour. 

MISS MONROE 

Good. 

CUT TO: EXT – THREE STORY BUILDING 

_Text on Screen: Tulandero Apartments, _

_ Rybeck, California _

Mercedes runs up the path and enters. 

INT – MERCEDES' ROOM 

Mercedes grabs her bag and begins throwing odds and ends inside. Dina appears in the doorway, looking sleepy. 

DINA 

Mercedes, what's going on? For a minute I thought there were sweepers in here taking the place apart. 

MERCEDES 

Sorry I woke you. I have to go. 

DINA 

Where? 

Mercedes pauses, she doesn't really want to reveal that Uno has contacted her individually. 

MERCEDES 

I need to help a friend. That's all I can tell you. 

DINA 

Mercedes, if you're going to – 

MERCEDES 

No, I'm not going back there. But I'm going away for a day or two and who knows if you guys will still be here by then. 

DINA 

(Seeing the point, nodding slowly) 

Okay. Is there anything I can do? 

Mercedes reaches up and takes off her necklace. She drops it in a plastic bag and hands it to Dina. 

MERCEDES 

If you really need to find me… maybe Trinity can get something off this. 

DINA 

(understanding) 

Sure. 

Mercedes flashes a small smile, flings her bag over her shoulder and goes to walk past Dina, out the door. Dina raises a hand and puts it on Mercedes' shoulder. Mercedes stops. 

DINA (cont.) 

Take care 

MERCEDES 

(nodding) 

You too. 

Mercedes exits and Dina remains leaning in the doorway. 

CUT TO: EXT – RYBECK PUBLIC LIBRARY 

CUT TO: INT – RYBECK PUBLIC LIBRARY, READING ROOM. 

The camera pans from the sign on the door and we see Uno sitting in one of the over-stuffed chairs with several books open in his lap. 

We close in as Uno leans back in the chair and closes his eyes. He has a short FLASHBACK 

Flashing images of a teenage girl (approx 16 years old) we will know as SAKURA. Particularly is one shot shown several times, SAKURA's face is happy and smiling, intermixed with facial shots of YOUNG UNO – 18 YEARS OLD, also smiling happily. The faces match up and seem to be one. 

At that moment, the flashback disappears, Uno has been shaken awake. 

ELDERLY MALE LIBRARIAN 

Are you okay, young man? 

UNO 

Uh, yeah… thanks. 

The books that were on his lap have fallen to the floor, Uno leans down to pick them up. 

UNO (cont.) 

Sorry 

The librarian nods and takes the books Uno hands him, then moves off. Mercedes enters the room carrying her large backpack over one shoulder. She puts a hand on Uno's shoulder. He smiles, relieved that she has come and gestures for her to sit down. She does so, then speaks her mind. 

MERCEDES 

So, you said you were going to explain all this. 

UNO 

As much as I can 

MERCEDES 

You mentioned the Linguals. I thought they were a fairy tale, a joke. 

UNO 

You never trained with them… 

MERCEDES 

No, I guess there wasn't much call for interlingual empathy. 

UNO 

Look, I don't want to talk about all that – 

MERCEDES 

I do. Tell me everything. Please. 

Uno pauses and takes a deep breath, then begins. 

UNO 

The Linguals..., 'project 12', were a spin-off of the Prodigy Project. We… were all under Monroe's control, but – but things weren't the same. 

Mercedes understands he is referring to some of the horrible sims they have done and the experiments conducted. She nods. 

MERCEDES 

Go on. 

UNO 

These kids… they had a gift for languages. Before they were one year old, they were all showing signs of advanced speech and brain capacity. So Centre 16 did what Centre 16 does best… 

MERCEDES 

Took innocent kids away from their families for their own use. 

UNO 

(dryly) 

Bingo! There were five of them, and they were brought up in a special part of the Prodigy wing. I started working with some of them when I was seventeen or eighteen and I think Justin worked with them a bit too. There was only a few of us doing it. 

MERCEDES 

Kind of like a crossover episode on TV? In the first hour a few characters from the second show are on the first and in the second hour, visa-versa? 

UNO 

You've been doing your homework out here. 

MERCEDES 

(shrugging) 

I liked that show, er, 'Profiler'. To think they had to shoot all those extra frames and everything! I get that all the time, free of charge, no remote required. Anyway… back to the Linguals… 

UNO 

(reluctantly) 

We did sims with them sometimes. We always spoke designated languages. Chinese, German, Spanish, Japanese, French, but never English. The kids were never allowed to learn it… I was teamed up with Emilia, and we spoke Japanese, Chinese and Spanish, which were my best languages. Something went wrong at one stage and all five of them were discharged from Centre 16. 

MERCEDES 

Discharged?

UNO 

Released. I've done a bit of digging and it seemed they were sent to foster homes arranged through – 

MERCEDES 

Let me guess. A Centre 16-funded Social Service Sector? 

UNO 

(sighing) 

Should I bother to fill in the rest of the blanks? 

MERCEDES 

I think I've got a handle on it. But what's so special about this girl? 

UNO 

What?  
  
MERCEDES 

Well, why is it so important to you that we get this girl, er, Emilia, out of whatever jam she's in? 

Uno pauses and a quick flash of Sakura's face, followed by a flash of Emilia: We realise that Sakura IS Emilia. He takes a breath. 

UNO 

Because she's one of us, and she's in trouble. 

MERCEDES 

(looking at him astutely) 

Good enough. Where's her stuff? 

UNO 

My place. Let's go. 

CUT TO: INT – DINA/TRINITY'S HOTEL ROOM 

Justin, Luke, Dina and Trinity are sitting around the room: Luke and Trinity sit next to each other on a small couch, Justin on the edge of one of the single beds and Dina sits back-to-front on a wooden desk chair. 

JUSTIN 

How could she just take off alone like that? 

LUKE 

She's not a soldier, Justin, she doesn't take orders. Mercie's a free agent, and if she wants to go off on her own for a bit – 

JUSTIN 

But why didn't she tell us where she was going? 

DINA 

Too much of a security risk, Justin… if someone's captured, then imagine the things Centre 16 would do in order to get a location out of them. 

TRINITY 

You're the one who drilled that into us. 

JUSTIN 

I just never thought she'd turn it around on me like that. 

Justin is obviously concerned. He jumps up, restless. 

JUSTIN (cont.) 

Look, I'm going to skip dinner. 

He pulls out his wallet, takes out a few bills and hands them to Dina. 

JUSTIN (cont.) 

Knock yourselves out. 

Justin leaves the room. The other three sit silently for a minute, then Dina holds up the money Justin just gave her with a devilish grin on her face. 

DINA 

Well, he told us to go for it… 

CUT TO: INT – JUSTIN/LUKE'S ROOM 

Justin flops down on his bed and idly picks up the remote from the table between his and Luke's bed. He points it at the television on the bench, but it doesn't turn on. Sighing, he gets up and manually presses the power button. The sound starts first as Justin backs away to sit down again and then he looks up to see a news anchor. 

NEWS ANCHOR 

Three days on, the search for missing foreign languages student Emilia Tagaki has yet to pick up a strong lead as to what motivated what police now think to be a kidnapping. 

A picture of Emilia, smiling and happy (obviously cropped from a larger photo of some joyous event) is shown on the screen and Justin gasps. 

NEWS ANCHOR (cont.) 

Emilia Tagaki has long black hair, brown eyes, weighs 118 pounds, stands at 5 foot nine inches, and is of Asian appearance. If you have information as to her whereabouts, please call the Crime-stoppers hotline on – 

A wide shot of the room reveals that Justin has left again, the door left wide open. 

CUT TO: EXT – CENTRE 16 (MORNING) 

CUT TO: INT – PRODIGY WING TECH ROOM, CENTRE 16 

Miss Monroe, JC and Roschelle are waiting. Miss Monroe sits at the computer used the day before; and JC sits next to her, wires and clips connecting the desktop and his laptop already in place. Rochelle stands behind Miss Monroe's chair, arms crossed, not convinced. In her clasped hand is a folder labelled 'Project 12'. 

MISS MONROE 

(looking at her watch) 

Where is Calvin? And where is our informant? 

Behind them, a screen across the aisle comes to life. 

ROSCHELLE 

Calvin's not coming, he thinks this is a waste of time. 

(she turns away as if to leave) 

And so do – 

(she spots the glowing screen, then speaks quietly) 

Wrong screen, Miss Monroe. 

MISS MONROE 

What? 

Miss Monroe and JC turn in their seats and see the other screen 

JC 

Damn! 

As JC hurries to disconnect from the first computer and link up to the second, Miss Monroe rolls her seat across the aisle and reads the writing on the screen. 

**_ Q: Have you made your decision yet? _**

Miss Monroe types. 

ON SCREEN 

_A: Yes _

**_Q: And? _**

_A: We'll pay if we can verify it. _

**_Q: Do you have the money? _**

_A: We have _ _5 million available. We believe the amount to be sufficient for the merchandise being offered._

**_When you have it in cash, call 06 793 751 548. _**

**_You have 24 hours, or we find another buyer. _**

_We understand. _

A thick blue line appears in the window and Miss Monroe knows the connection has been terminated. 

MISS MONROE 

(over her shoulder to Roschelle, who looks surprised) 

Believe me now? 

Roschelle nods almost dumbly, surprised. She opens the folder, sifts through some papers, and comes to photograph of Sakura/Emilia. In the corner is the text 'P12 - S05' 

MISS MONROE 

Did you get them, JC? 

JC 

Not enough time. Why didn't you keep them on the line? 

MISS MONROE 

I didn't want them getting suspicious. 

At that moment Mr. Fallen enters, looks at the three of them around the computer. 

MR FALLEN 

Did we have a slumber party? 

(he smirks) 

Why wasn't I invited? 

MISS MONROE 

In case you haven't realized yet, we don't like you. 

MR FALLEN 

Should I take that as a compliment? 

MISS MONROE 

Only as one to our good taste. 

(She stands) 

Let's go, we have money to find. 

Miss Monroe leaves, followed by Roschelle and JC, with cables trailing from his laptop, as Mr. Fallen watches. Once they are out of the room, he leans over and snaps the computer off, a satisfied look on his face. 

CUT TO: EXT – MARRIOT HOTEL 

_Text on Screen: Marriot Hotel _

_ Rogers City, California _

CUT TO: INT – UNO'S SUITE 

Mercedes steps out of one room, wrapped in a fluffy bathrobe. She walks over to a table, where a breakfast trolley is waiting, laden with several plates of breakfast food and a coffee pot and tea service. We see a close-up of the table, one plate is already finished, only the leftovers remain. She picks up a slice of toast and walks over to the window. (A clock in the background shows it is 8:30am) 

UNO 

(from behind) 

Nice view, isn't it? 

Mercedes jumps in surprise. 

MERCEDES 

Can't you walk up noisily behind someone for a change? Let them know you're coming? 

UNO 

Sorry 

MERCEDES 

It's okay. And yes, it's a nice view. When you said 'your place' I imagined something a little less spectacular 

UNO 

A bit more modest, perhaps? 

MERCEDES 

I must have been dreaming. What's modest with you around? 

UNO 

Obviously not you 

He points to her robe, which has opened up and shows her upper leg. Mercedes gathers her robe closer around her, and Uno looks away. 

MERCEDES 

I meant a different 'modest', smarty-skirt 

UNO 

(idly, distracted, looking out the window) 

Smarty-pants 

MERCEDES 

Whatever. Are we going to get started? 

UNO 

Whenever you're dressed 

Uno turns and heads into his room, Mercedes walks in the opposite direction to hers. 

CUT TO: JUSTIN/LUKE'S ROOM 

Luke is shaving in front of the sink in a corner of the room, already dressed in a pair of mechanic's overalls. Justin is straightening his tie in the same cracked mirror Luke is using, looking over his shoulder. They seem to be continuing a conversation started earlier. 

LUKE 

Justin, calm down, okay? Mercie can take care of herself… she'll find us again soon enough. 

JUSTIN 

(worried) 

I guess… 

LUKE 

(confident) 

I know. Get your mind off your sister and go to work. 

JUSTIN 

Right. 

Justin steps away from the mirror with his tie perfectly knotted, picks up a briefcase and walks out of the room. 

LUKE 

(To himself) 

That fellow worries too much. 

CUT TO: INT/EXT – RYBECK TRAIN STATION 

We see Justin jump on a train bound for Rogers City just as the doors close. 

CUT TO: INT – CENTRE 16 VAULTS 

_Text on Screen: Centre 16 Secure Vaults _

_ Sub-level 1 _

Miss Monroe is talking urgently with an older man on the other side of the bars and bulletproof glass 

MISS MONROE 

I told you, I have the authority to remove 5 million dollars from these vaults: How can you argue with a directive from The Tower? 

BURSER 

Sorry Miss Monroe, but I need to see written authorisation. 

JC rushes up and hands a faxed sheet through the small slot. The burser holds it up to read it and as the camera closes in we can see it is indeed a "Tower Directive" that appears to have been faxed from "The Centre; Blue Cove, Delaware". It has a short written statement which we don't see but assume indeed releases the money because: 

BURSER 

(sighing) 

Alright, alright. 20 minutes. 

MISS MONROE 

Make it fifteen, Junior. 

CUT TO: INT – UNO'S SUITE 

Mercedes is now dressed in jeans and tank top, sitting on the floor of the lounge room in the sunlight flooding in from the window with her eyes closed. Uno walks in, making noticeable noise and Mercedes smiles slightly. Uno comes up beside her and without opening her eyes, she holds her hands out. Uno leans down and places a chunky book which we see is a Japanese-English Dictionary in her hands and Mercedes gets a VISION 

A hurried flash shows dark shadows and a fuzzy shape moving in the background 

MERCEDES 

(quietly, as if to herself) 

C'mon, Emilia, focus. Focus! 

She puts the dictionary down and holds her hands out again, Uno places another book in her hands but while doing it, his hands touch hers and she gets a different VISION 

Young Uno and Sakura (Young Emilia) are kissing in a shadow when someone pulls Sakura away roughly 

Mercedes puts down the book and holds her hands up again, not interrupting to confront Uno. As Uno hands her another book, the camera pulls away… 

CUT TO: EXT – ROGERS CITY POLICE STATION 

_ Text on Screen: Rogers City Police Precinct 203 _

CUT TO: INT – ROGERS CITY P.D. DETECTIVE OFFICE 

Justin sits at the back of a briefing room with at least 10 other detectives in attendence. 

The senior detective, 

DETECTIVE MICHAEL YEARLING ~ Mid 30's ~ Male 

Is making an announcement. 

Detective YEARLING 

Folks, this is the fourth day of our search and during the night we got no new leads. We're still working in the locale; trying to find the last person who saw her. 

He points to a whiteboard with pictures of Emilia, the park entrance and several other places in the park. 

YEARLING 

This is our last chance, if we don't get anything good today, odds are that she won't be found alive. 

Justin pipes up. 

JUSTIN 

You said there were no leads, Sir. No anonymous tips? 

The senior detective stops his spiel and stares at Justin, several other detectives in the room also turn to look at him. 

YEARLING 

What's your name, son? 

JUSTIN 

Murray, Sir, Justin Murray 

YEARLING 

And when I say there have been no tips, Murray, there have been no tips. Anonymous or otherwise. Understand? 

JUSTIN 

Yes Sir, I was just – 

YEARLING 

It doesn't matter what you were "just". We have a girl to find and only another 24 hours tops to find her. Let's go, people! 

The meeting breaks up and the other detectives get up and leave the room noisily, leaving Justin still at his desk and Yearling still at the front of the room. 

YEARLING 

Got a problem, Murray? 

JUSTIN 

A small one, Sir. 

Justin stands and walks to the front of the room, pointing to the whiteboard. 

JUSTIN (cont.) 

If it was determined she was kidnapped in the park, why wasn't it closed off ASAP? And why did we wait so long to begin investigating? Tagaki's been missing five and a half days and – 

YEARLING 

And we had to wait the regulation 24-hours to make sure she was missing and not waylaid. 

JUSTIN 

Waylaid? 

YEARLING 

Stopped at a boyfriend's house and hasn't told anyone. Or a friend's house. Or just decided to take off for a bit of quiet. 

JUSTIN 

She doesn't have a boyfriend, rooms with three of her best friends and is in the middle of the college semester. Sound to you like she'd "take off for a bit of quiet"? 

YEARLING 

(angrily) 

Look, Murray, I don't know why on earth you were reassigned to us this morning but surely they don't stand for this kind of impertinence wherever you come from. Do you always talk to your superiors like this? 

JUSTIN 

Only when they act like idiots. You waited an extra 12 hours to begin the search. Why? 

YEARLING 

(ego deflated) 

To avoid… a panic. 

JUSTIN 

What kind of panic? 

YEARLING 

(despondent) 

I was called at home and told that I took this case front-on my wife and kids wouldn't live to regret it. 

JUSTIN 

Did the callers identify themselves? 

YEARLING 

They just said they had her and they'd kill her and my family if I took it straight away. They said to wait until the next day to begin. 

JUSTIN 

You gave them a 12-hour head start to covering their tracks. 

YEARLING 

What could I do? And why am I telling you this? 

JUSTIN 

Nothing then. But you can do it now. And you're telling me because you care. You're a good cop Sir… just too easy to scare. 

YEARLING 

But… 

JUSTIN 

It doesn't matter – Only Emilia matters now. 

Yearling nods, and leaves the room. 

JUSTIN (cont.) 

(to himself) 

What are you doing, Mercie? 

CUT TO: INT – MISS MONROE'S OFFICE, CENTRE 16 

Miss Monroe sits at her desk, fingering a piece of paper. JC stands in front of her desk, Roschelle and Calvin are seated. Mr. Fallen enters and moves to the front of the desk, JC noticeably shys away, almost hiding behind Roschelle's chair. 

MR FALLEN 

So, have we made the all-important call yet? 

MISS MONROE 

(seemingly pulled out of a reverie) 

No, not yet. 

MR FALLEN 

Well then, shall I? 

Mr. Fallen puts his hand out for the paper. After a moment, Miss Monroe hands it to him and he smiles almost victoriously. He picks up her phone and dials. The call goes through. 

MR FALLEN 

Good afternoon. I believe we have some business to conduct. 

(pause) 

Fallen, Sir; Mr. Fallen. Co-Director of Special Projects. 

(pause) 

Well, Certainly. 

He takes the phone away from his ear, covers the mouthpiece and offers it to Miss Monroe. 

MR FALLEN 

They want to talk to "the young lady they negotiated with". 

(Miss Monroe leans forward to take it) 

I'll leave it to you 

As soon as Miss Monroe takes the receiver, Mr. Fallen leaves the room. JC visibly relaxes and Miss Monroe speaks. 

MISS MONROE 

Hello? 

We hear the Captain's voice on the other end of the line. 

CAPTAIN 

Is this Miss Monroe? 

MISS MONROE 

(surprised) 

Yes. Can I ask your name? 

CAPTAIN 

You can call me Captain. Now, we have some business to discuss. By now I'm sure you've realised that I have Subject Five of Project 12. May I be assured you have the money in order? 

MISS MONROE 

We do. 5 million 

CAPTAIN 

Excellent. My associates and I will choose a place to meet and we will get back to you within eight hours. May I call you at this number again? 

MISS MONROE 

Yes, and if I'm not here the call will be forwarded 

CAPTAIN 

Good. I look forward to doing business with you Miss Monroe. 

The Captain hangs up and so does Miss Monroe 

JC 

What did he say, Miss M? 

MISS MONROE 

He said he was checking that the money was ready and that when he and his heavies are ready they'll call back to arrange the swap. 

CALVIN 

I still don't like this. 

MISS MONROE 

You wouldn't. It was your old friend the Captain. You didn't tell me he was foreign. 

CALVIN 

(puzzled) 

Foreign? 

MISS MONROE 

Well he's not American – Perhaps British or Australian? 

ROSCHELLE

No, he is an American. Well he was last time we spoke... about two months before the prodigy subjects escaped...

CUT TO: UNO'S SUITE 

Uno and Mercedes are ready to leave: 2 bags and a briefcase are packed and waiting near the door. Uno now wears jeans, a dark shirt and a thigh-length leather jacket and is sitting at a table, checking his gun. Mercedes enters the room silently from behind and sees the gun. She quickly exits; Uno hasn't noticed her. She walks back down the hallway, then re-enters, making more noise, giving Uno time to slip the gun into his waistband under the jacket. Mercedes has also changed, from her tank top into a dark long-sleeved shirt and she is now wearing heavy boots. 

MERCEDES 

Ready ? 

UNO 

Yeah, let's get going. 

They pick up their bags at the door and leave the suite. 

CUT TO: INT – ROGERS CITY POLICE STATION: DETECTIVE'S ROOM – 

JUSTIN'S DESK (INTERCUT WITH: INT – JUSTIN/LUKE'S ROOM) 

Justin dials a number and gets Luke on the line. 

JUSTIN 

Luke? It's me – I'm in Rogers City 

Luke stands next to the table, his face now dirty and sweaty from work 

LUKE 

About time, J, we were getting worried. 

JUSTIN 

Look, I need to know if Mercie left anything behind. 

LUKE 

Hang on, I'll check 

A pause, then Dina is on the line. 

DINA 

Justin, it's Dina. Mercie left her necklace with me in case we needed to find her. You want Trini to give it a try? 

JUSTIN 

Please 

DINA 

Right, just a sec. 

Trinity grasps at the necklace, running her fingers along it, looking relaxed. She reaches the clasp - nothing. She touches the small silver pendant and jumps slightly, opening her eyes and reaching for the phone. 

TRINITY 

Justin, she's at a high rise in the city… 

JUSTIN 

Name? Address? 

TRINITY 

I'm trying! 

She hands the phone to Dina and runs the necklace through her hands again, this time stopping on the clasp. 

TRINITY 

Henray… Henray Apartments… 

DINA 

(into the phone) 

Henray Apartments 

TRINITY 

(opens her eyes and sighs) 

Basement. Maybe… boiler room. 

DINA 

(into the phone) 

The basement, Justin, possibly a boiler room. 

CUT BACK TO: INT – ROGERS CITY POLICE STATION: DETECTIVE'S ROOM – JUSTIN'S DESK 

JUSTIN 

Thanks 

He slams the phone down and runs out. 

CUT TO: EXT – HENRAY APARTMENTS 

A Prosperous-looking eight-story building 

CUT TO: INT – BASEMENT 

Three "Rogue Sweepers", the Captain's new team, sit around a room watching a game of football on television. A shadow appears in the doorway. 

CAPTAIN 

Put the news on, kids. 

ROUGUE SWEEPER #1 

Oh, sure, Cap. 

He uses the remote to change the channel to a news station. The Sweepers are quiet while their leader watches for a moment 

CAPTAIN 

Good. Nothing on the girl. 

ROGUE SWEEPER #2 

Do you think they've given up on her? 

Uno and Mercedes quietly appear out a dark hallway 

UNO 

Not a chance 

The Rogue Sweepers jump up in surprise, the Captain seems to disappear, melting into the shadows. One sweeper reaches for the gun in his shoulder holster and Uno steps forward to ensure the rogues can see the pistol he already holds. He nods to the door behind the television and Mercedes opens the door and enters, reemerges moments later supporting Emilia; gaunt and thin from her imprisonment. Uno tilts his head back to indicate they should go upstairs but the situation quickly changes as the three sweepers act in unison and pull their guns. The girls freeze and Uno responds by pulling the second gun from his waistband, now holding one in each hand. 

ROGUE SWEEPER #3 

Let it go, man, she's not worth copping a bullet 

UNO 

(angrily) 

How would you know? 

ROGUE SWEEPER #3 

(licks his lips suggestively) 

Oh, I know 

Uno looks like he is about to shoot the man but can't. 

ROGUE SWEEPER #3 

See, boy, it's not so hard. Put your guns down and we'll let you and your girlfriend leave intact. 

UNO 

Haven't you people destroyed enough lives? She doesn't belong there. No one does. Except maybe creeps like you. 

ROGUE SWEEPER #3 

You got a smart mouth on you, kid. But of course she belongs there. They own her. Thinking anything else is just a fantasy. 

EMILIA 

(croakily) 

A fantasy come true 

ROGUE SWEEPER #3 

Look kids, you two go now or we shoot you all. 

UNO 

Fine. Let's go 

He shepherds Mercedes and Emilia toward the door knowing that the men don't want to shoot and alert people to their presence. Sweeper #2, the youngest, is sweating; gripping his gun with both hands. Without warning a shot sounds and Emilia falls. As the sweepers try to move in, Uno shoots them. 

Mercedes leans over Emilia, trying to stop the bleeding but blood pours out of the chest wound. Uno leans over her too, as Emilia gasps with the pain but with a faint smile on her face. 

UNO 

(disbelieving) 

You spoke English! 

EMILIA 

Hai. Motou bekyo shimashita, Ichi 

[Subtitles read: Yes. I studied a lot, One] 

UNO 

Sakura… Itsumo Aishiteimashita. 

[Sakura… I always loved you] 

EMILIA 

Shitteru 

[I know] 

UNO 

Ima Aishiteru 

[I love you now] 

EMILIA 

Watashi mo 

[Me too] 

Emilia leans back, eyes going glassy. 

UNO 

Ikenai! Ikenai! 

[Don't go! Don't go!] 

EMILIA 

Daijyobu, Ichi. 

[I'm okay, One] 

UNO 

Boku no namae wa "Uno" desu yo. 

[My name is "Uno"] 

EMILIA 

Uno… Tenshi ga miru dekimasuka? 

[Uno… can you see the angels?] 

UNO 

Hitori ga… 

[One] 

EMILIA 

(Smiling weakly) 

Futari 

[Two] 

(points to Mercedes and Uno, puts her hand up on Uno's cheek as a tear runs down it) 

Arigato… demo iko! 

[Thank you… but go!] 

UNO 

Dekinai! 

[I can't!] 

EMILIA 

Dekiru… iko 

[You can… go] 

Uno leans down and kisses her on the cheek and whispers into her ear. 

UNO 

Anatawa wo kokoro kara aishiteimasu 

[I love you with all my heart] 

EMILIA 

Itsumo? 

[Always?] 

UNO 

Itsumo 

[Always] 

A smile touches Emilia's face as she leans back and closes her eyes for the last time. 

A moment pauses and then a door bursts open, throwing light on Uno, Mercedes and Emilia. Justin steps through with his gun drawn but as soon as he sees Emilia his shoulders droop. 

CUT TO: INT – MISS MONROE'S OFFICE, PRODIGY WING; CENTRE 16 

JC sits timidly in a chair, Roschelle sits in the other and Miss Monroe paces, looking at her watch. 

MISS MONROE 

He's an hour late! 

JC 

(reasonably) 

Maybe he lost track of time… 

MISS MONROE 

(irritably) 

You don't "lose track of time" on something as important as this, JC 

Mr. Fallen enters the room 

MR FALLEN 

I see your savior hasn't come through 

MISS MONROE 

(sarcastic) 

Yes, Jesus fails me constantly. 

MR FALLEN 

I meant the one who's actually on Earth at the moment – this Captain fellow Calvin was talking about. It's ten p.m. and he still hasn't called back to arrange a meet. I'd say he was playing you for a fool. 

MISS MONROE 

Or maybe he just doesn't want to risk hearing your voice on the line again. 

MR FALLEN 

Quick. Not funny, but quick. 

MISS MONROE 

Quick is my job. 

MR FALLEN 

Or your life 

MISS MONROE 

Was that a threat? 

MR FALLEN 

A friendly warning 

MISS MONROE 

And you were surprised I had friends. 

Miss Monroe leaves the room, Roschelle stands and follows. JC remains seated, uneasy. Mr. Fallen looks down and sees him there. He plants a hand on either arm of JC's chair and leans forward, toward JC, who pulls himself as far back into the seat as he can. Mr. Fallen stands there studying JC for a moment… then snaps his teeth at him before straightening up and leaving. We pick up on JC, still seated and looking freaked out. 

CUT TO: UNO'S JEEP – OPEN HIGHWAY 

Uno is driving, Justin is sprawled out in the backseat asleep, and Mercedes sits in the passenger seat. Uno is obviously trying to keep rage, anger and sadness under control. 

MERCEDES 

Uno… 

UNO 

What? 

MERCEDES 

Nothing. 

They drive another minute before Mercedes tries again. 

MERCEDES 

Uno 

UNO 

(short-tempered, explosively) 

What? 

MERCEDES 

… You… loved her… Emilia, I mean. 

UNO 

Yes 

MERCEDES 

So… why…? 

UNO 

Why what? 

MERCEDES 

Why… why don't you cry? 

UNO 

Because she's gone… and a million tears wouldn't bring her back. 

MERCEDES 

But they'd sure make you feel better 

UNO 

Self pity, Mercie, and I can't do that. I did it once and I nearly went postal. 

MERCEDES 

(not quite getting the expression) 

FedEx or International? 

UNO 

(looking sideways and realising she's quite serious, he cracks a small grin) 

It's an expression, Mercie. You should check your slang dictionary. 

MERCEDES 

(seriously) 

I could only find the '98 edition. 

UNO 

Right… So, where do you want me to drop you off? 

MERCEDES 

Home is where the rump rests… but Rybeck, if it's not too far out of your way. 

UNO 

In fact, I was just heading that way… 

(he makes a turn off the highway) 

…so you've seen the Lion King too, hey? 

MERCEDES 

Stunning animation 

UNO 

Good jokes 

MERCEDES 

Soppy love songs… 

(noticing Uno's expression) 

Sorry 

UNO 

(shrugs) 

Hakuna Matata. 

They drive off "into the sunset" as the screen goes black for the Closing Credits. 

NEXT WEEK - Black, White And The Many Sades Of Gray - Dina befriends an orphan, while Trinity and Mercedes explore their empathic abilities, and Luke and Justin track a killer with an all too familiar call sign...


	6. 106 Black, White and the Many Shades of ...

FILE SIX – Black, White And The Many Shades Of Grey  
(Written By Vokal)

WIDE on Centre 16 exterior.

CUT TO: Delivery bay, Centre 16. A narrow alley dotted with boxes and workmen loading and unloading cartons and boxes. It is early morning.

**Text On Screen: Delivery Bay  
Centre 16  
Salt Lake City, Utah**

An unmarked truck pulls to a loading ramp. The driver steps out, and signals to some workmen to come over. They run over, and the driver slides up the door at the back. They peer into the back with quizzical looks on their faces.

CUT TO: Miss Monroe's office, Centre 16. Miss Monroe sits at her desk, a thoughtful expression on her face, her hair tied tightly back in her characteristic way. She stares at the contents of a red folder. The camera CLOSES IN to reveal she is actually staring at Justin's profile. She has a ****FLASHBACK****.

YOUNG JUSTIN ~ 13 years old, sits on the edge of his bed in his living space, swinging his feet and staring at the ground. The sound of a sequence being entered on a keypad that we presume is the lock to Justin's living space is heard. The door creaks open, and YOUNG MISS MONROE ~ 13 years old, enters, carrying a large stuffed animal under her arm. Justin turns to her, surprised.

YOUNG JUSTIN  
(in a whisper)  
How do you keep getting in here?

YOUNG MISS MONROE  
(in a whisper)  
I'm invisible...

YOUNG JUSTIN  
(in a whisper, puzzled)  
I can see you...

YOUNG MISS MONROE  
(in a whisper)  
My father can't...

YOUNG JUSTIN  
Where'd you get that?

He points to the large stuffed animal under her arm.

JC knocks at Miss Monroe's door, stirring her from her thoughts, he opens before waiting for her reply. She slams the folder closed, and glares up at him from her desk.

MISS MONROE  
(angrily)  
What?

JC  
(mysteriously)  
Something's arrived...

CUT TO; Delivery bay. Miss Monroe stands outside with Calvin, Roschelle and JC at the back of the van we have previously seen pull up. The door is up, and the four stare at the contents. Inside the van are a set of 'laughing clowns', the game prevalent at most carnivals. Each clown has been made to the likeness of Miss Monroe, Calvin, JC, Roschelle and Mr Fallen. Behind them is a life-size cardboard stand up of Johanesson, with a speech bubble extending from his mouth exclaiming 'Pick a prize', with his hand pointing to a wall behind him, lined with cards saying 'life' and 'death'. In the part of the 'laughing clowns' below the heads, in each section indicating scores, are photos of Dina, Justin, Luke, Mercedes and Trinity. Miss Monroe climbs up into the back of the truck for further inspection. She picks up one of the balls provided and pushes it down the mouth of the clown that resembles her. Mr Fallen arrives at the scene, and seeing the 'laughing clowns', grins in an odd manner.

MR FALLEN  
What a circus...

MISS MONROE  
(snapping back)  
Well we're at The Centre aren't we?

Miss Monroe jumps down from the truck. Mr Fallen goes to help her down, but she brushes off his assistance.

CALVIN  
(moving closer to the truck, and resting his elbows in it)  
What does it mean?

MISS MONROE  
That someone has a little too much time on their hands... Time that we are going to take off them... (wicked grin)

As Miss Monroe stalks away, followed closely by the others, we CLOSE IN on the 'laughing clown' where Miss Monroe put the ball. It has landed in the section with Justin's photograph.

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

**Text On Screen: Green Bay, Wisconsin**

**  
**CUT TO; Ordinary city street. It is morning. Mercedes, Justin and Luke are at a hotdog vendor. Both Justin and Luke are enjoying their hotdogs, Luke with smears of tomato sauce on his mouth. Mercedes however, seems reluctant to eat. They seem to be continuing a conversation.

JUSTIN  
(to Mercie, as he turns away from the vendor, and they begin to walk down the street)  
I'm telling you, it's not real dog.

MERCIE  
Then why do they call it 'hotdog'?

LUKE  
It's just one of those expressions, like 'donut'.

JUSTIN  
How have you never had a hotdog before?

MERCIE  
Too busy. It's your fault, all these quests.

At that moment, they pass a news stand. Justin glances at the headlines as he walks past. Suddenly, he comes to an abrupt halt. His hands begin to shake, and he drops his hotdog. Camera CLOSES IN as it hits the ground in SLO-MO. Luke and Mercie also stop, curious as to what changed Justin's mood so suddenly. Luke glances at the newspaper, and camera CLOSES IN on the text;

' C16 Serial killer claims fourth victim'

Luke stares at the paper, his eyes wide, before looking to Justin. They exchange a knowing look, laced with fear. Mercedes does not seem to understand.

MERCEDES  
What?

CUT TO; Camping grounds. FOCUS on large black and red tent pitched under a tree.

CUT TO; Inside the tent. Luke, Trinity, Mercedes and Dina sit either sprawled on mattresses on the floor, or in camping chairs. Justin stands in front of them, the obvious leader, and reads aloud from the newspaper.

JUSTIN  
'The serial killer dubbed the 'C16 Butcher', due to the presence of 16 units of the letter 'c' carved into his victims chests, has struck down a fourth doctor in Michigan over the weekend. Dr Joseph Scott, a retired neurosurgeon, was murdered in his home on Saturday...'

TRINITY  
I'm guessing the C16 part isn't one of those mysterious coincidences you see on TV shows...

LUKE  
Hardly...

DINA  
So the killer is someone from Centre 16. Those bastards.

JUSTIN   
In a way...

The others get a sense that the two men aren't telling them the whole truth

MERCEDES  
What's going on Justin? Who's the C-16 butcher?

JUSTIN  
He's one of us...

The others recoil in shock, except for Luke, who seems to already know this information.

TRINITY  
Who?

LUKE  
10

DINA  
10?

JUSTIN  
I know, you girls didn't do much with 10, but Luke and I were involved in several... experiments with him...

DINA  
What kind of experiments?

LUKE  
Scientific experiments... to do with the brain...

MERCEDES  
So I guess slicing and dicing abounded?

JUSTIN  
(eyes downcast, obviously remembering)  
Something like that...

Justin picks up the newspaper again, and studies it hard, and swallows hard before continuing, he seems to be fighting back horrible memories...

JUSTIN  
There was this one experiment, a few months before the escape. They took 10 away during one of our sessions. Justin closes his eyes and has a FLASHBACK

Justin, Luke and another young man, who we assume is SUBJECT 10 ~ 20 years old, with sandy hair and steely grey eyes, sit at a long table in a simulation room. Roschelle sits at the head of the table, a pile of papers in front of her. Several doctors appear at the small window in the door. They look in, their gaze resting upon Subject 10. He looks back at them, his eyes fearful. The doctors walk in, and usher subject 10 away quietly. Roschelle looks on quizzically, but does not speak.

JUSTIN (VOICEOVER)  
It was unusual for one of us to be drawn out during a session, but we never questioned it. We just sat there, frozen.

Back to present time, Justin is still looking at the newspaper, not making eye contact with the others.

JUSTIN  
We didn't see him again for a few days, but when we finally did, he just wasn't the same.

TRINITY  
What do you mean?

JUSTIN  
He was... different

FLASHBACK

A simulation room, typically devoid of any furniture, but also lacking the table as previously. A long metal bar stretches from each wall, and Luke and Justin hang from it upside down by their legs. Their faces are red, and they have obviously been hanging in this way for some time. They are not supervised. The door opens, and Subject 10 is led in, his head wrapped in bandages, by the doctors who took him away. Roschelle also accompanies them.

ROSCHELLE  
Do you think it is wise to allow the subject to partake in this experiment whilst still recovering?

DOCTOR 1  
The boy is fine

Roschelle nods, and motions for Subject 10 to climb onto the bar, and she walks out with the doctors, closing the door behind her. We hear the keypad being set to lock the door. Subject 10 looks toward Luke and Justin hanging from the bar, but does not join them. Instead, he sits cross-legged in front of them. The men look at each other for a moment, before Justin speaks.

JUSTIN  
Are you alright?

SUBJECT 10  
(almost spitting the words out)  
You heard the doctor, I'm fine.

Another long moment passes, before Subject 10 speaks again, this time just above a whisper, and in a tone both flat and menacing at the same time

SUBJECT 10  
When we get out of here, I'm going to kill the lot of them. Carve a 'c' into their hearts for every year they've kept me here. I'm going to kill the lot of them

His eyes look up toward Luke and Justin again, so filled with hate and rage they are barely recognisable. Camera CLOSES IN on his grey, steely gaze. 

Justin turns the newspaper around, it's headline facing the others.

JUSTIN  
And he is, he's killing them all

MERCEDES  
And how is a maniac offing our enemies, a problem?

JUSTIN  
He risks exposing Centre 16

MERCEDES  
And I don't see how that is a problem. I've always wondered why we didn't just blow the flute on everything that goes on there anyway...

DINA  
The whistle...

MERCEDES  
Huh?

DINA  
Blow the whistle...

TRINITY  
(in a half dazed expression, under the influence of her Empathic abilities)  
By exposing The Centre, we expose ourselves. And it doesn't matter how many people we've helped, and what amount of good we do, people won't accept us or understand us. They will hate and fear us because we're different...

MERCEDES  
We don't need them to accept us...

DINA  
But we need them not to kill us... and what's to stop some other organization, like the government, from picking up where The Centre left off, and exploiting our gifts...

TRINITY  
The world's not ready to know we exist... not yet

JUSTIN  
That's why we have to stop him... and soon

CUT TO; Prodigy wing's main foyer. Miss Monroe gets off an elevator, she is annoyed, as usual. JC bumbles past her, carrying a large pile of newspapers, so high he can barely see where he's going. As he walks past her, Miss Monroe snatches a paper off the pile. JC spins around, and realising it is Miss Monroe, slightly recoils. She examines the newspaper in silence, and then replaces it to the pile. JC goes to walk off, but Miss Monroe summons him still in a commanding voice.

MISS MONROE  
JC!

JC  
Yes Miss Monroe?

MISS MONROE  
Where are you taking that unusually large pile of newspapers?

JC  
(seemingly nervous)  
To Mr Fallen, ma'am...

MISS MONROE  
(wicked grin)  
I see he's taken my advice, and started lining the floor of his office...

JC smiles weakly, and goes to continue on. Once again, Miss Monroe's voice halts him

MISS MONROE  
JC!

JC turns, his face laced with what looks like nervous terror

MISS MONROE  
Why are you taking that unusually large pile of newspapers to Mr Fallen?

JC  
(swallowing hard)  
Mr Fallen has asked that I retrieve newspapers from across the country, so that he can study them

MISS MONROE  
(moving closer to JC, almost breathing down his throat)  
Why?

JC  
(nervous, swallowing)  
To identify situations most likely to draw the escaped prodigies' attention

MISS MONROE  
(understanding)  
Like orphans, widows and any abused 'little guys' out there in big bad capitalist America... (She glances at the newspapers, and then adds almost cheerily) Good idea...

Miss Monroe takes the pile of newspapers off JC, and walks away with them. JC stands stunned in the foyer.

CUT TO; WIDE on camping grounds near a lake.

CUT TO; Luke and Justin pack bags out the front of their tent. Dina, Mercedes and Trinity sit on logs made into seats watching them.

TRINITY  
(slightly wining)  
But we were camping...

LUKE  
I think, somehow, that this may be a little more important...

Trinity over-exaggerates a pout. Luke looks up at her and smiles.

LUKE  
You girls will be just fine camping by yourselves.

DINA  
We're not coming with you?

Justin turns from his bag and faces Dina. He looks thoughtful for a moment, before speaking.

JUSTIN  
This is something we have to do alone.

He casts Luke a knowing look. Luke looks down to his bag, shoving in rope, and then pulling his gun from the bag and tucking it into the back of his jeans. Trinity watches him, and suddenly has a VISION

Luke points the gun at someone. We can not see their face. Luke is angry, his young face streaked with tears. He fires the gun.

At the sound of the gunshot, Trinity is shaken from her vision. The others look at her enquiringly, obviously realising she has had a vision. 

JUSTIN  
What is it?

TRINITY  
(looking at Luke)  
Nothing...

She turns her attention to both of them.

TRINITY  
Just remember... no matter what he's done, 10 is still one of us. He's our family, and what is happening isn't his fault. (bitterness fills her voice) And it's not exactly like those doctors didn't get what they deserved.

Justin looks at Trinity, sensing that she is not telling him the whole truth, but nods his agreement anyway. 

DINA  
Where will we meet up with you?

JUSTIN  
We'll meet back here, but if anything should go awry, you girls move on... we'll find you...

He looks at them worriedly.

JUSTIN  
I just think you will be safer here. There will be Sweeper teams all over Michigan.

DINA  
You guys flying in?

JUSTIN  
Yeah, it'll be quicker. Once we get a feel for the scene, we should be able to figure out who's next.

DINA  
So... can we have the jeep?

Justin looks at from Dina to Trinity and then to Mercedes undecidedly. He answers warily.

JUSTIN  
Okay... 

Luke zips up his bag, and throws it over his shoulder. He smiles his goodbye to Trinity, they have obviously gotten very close. Trinity smiles weakly back at him. He nods toward Justin to hurry up. Justin hugs Mercedes.

MERCEDES  
(to Justin while they're hugging)  
Be careful...

JUSTIN  
Bye...

DINA  
I'll give you a ride into town...

Dina smiles happily as Justin hands her the keys to his jeep. The three leave, and Trinity and Mercedes watch them go.

CUT TO; Miss Monroe's office. Centre 16.

**Text On Screen: Centre 16  
Salt Lake City, Utah**

Miss Monroe sits on the edge of her desk, sifting through the pile of newspapers. She yawns, obviously bored. She hops off her desk, and walks around to her chair. She flops back in it, and leans back, stretching, making herself comfortable. She lies back in it for a moment, closing her yes. She has a FLASHBACK

YOUNG MISS MONROE ~ 7 years old lies on a rug on the floor in her father's office. She is wearing a silver bracelet with small sapphire hearts around it, and lies clutching a teddy, half asleep. Miss Monroe's mother, who we will know as GRACE walks into the room. She walks over to the sleeping Miss Monroe, kneels down beside her and kisses her on the forehead.

GRACE  
Wake up baby...

Miss Monroe rolls onto her back, and seeing her mother leaning over her, smiles.

MISS MONROE  
(sleepily)  
Mom...

Grace smiles. The doors open again and a woman with long brown hair and dark brown eyes walks in. We recognise her as the woman in the photo with Roschelle that Miss Monroe found in Roschelle's file in 1.03 - Kick. We will know her as RACHEL. She has an urgent expression on her face.

RACHEL  
Grace, I need to speak with you...

Grace looks down on the half asleep Miss Monroe again, kissing her on the cheek.

GRACE  
Sweet dreams baby girl. (turning to Rachel) I'm coming Rachel

Grace gets up slowly, turning again to look at her sleeping daughter, She smiles at her, and walks over to Rachel.

Miss Monroe awakes with a start, her chair tumbling forward as she sits straight. She reaches into her bottom draw quickly, removes the false bottom, and procures a metal box with a heavy lock. She pulls a necklace from her neck, and uses the key hanging on it to unlock the box. Once open, the camera CLOSES IN on the contents of the box. Inside it is the photograph of her father and Calvin that she took from her father's file in 1.03 Kick, a photograph of Young Miss Monroe ~ 7 years old and her mother, the silver bracelet with the sapphire hearts, and the photo of Roshelle and Rachel she took from Roschelle's file in 1.03 Kick. Miss Monroe sifts through the contents of the box, picking up the bracelet. She runs it through her fingers as she observes the picture of Rachel and Roschelle. She looks at it quizzically and whispers to herself.

MISS MONROE  
Who are you, Rachel?

Suddenly, Mr fallen bursts through the doors, a wide smile on his face. Miss Monroe slams the box shut.

MR FALLEN  
Afternoon, Miss Monroe.

MISS MONROE  
Fallen, thanks for knocking.

Mr Fallen spies the pile of newspapers on Miss Monroe's desk, and walks over to them. He opens one up, making himself comfortable by sitting on the corner of her desk. Miss Monroe sits in annoyance. 

MR FALLEN  
(while lazily looking over the paper)  
So, where's the carnival game?

MISS MONROE  
I had it moved down to Storage on SL-9. We've almost got the whole floor housing Prodigy-related items.

MR FALLEN  
And you were going to tell me this when?

MISS MONROE  
Never. In case you didn't understand the message behind our genius' little freak show carnival game, I'll knock it out for you in black and white. Whoever gets the subjects back, lives.

MR FALLEN  
(seriously, looking Miss Monroe in the eyes)  
Nothing is ever completely black and white.

Miss Monroe looks at him curiously and it seems that she about to say something, when Mr Fallen lays a newspaper in front of her. It is the same newspaper the prodigies had been reading early that day. Camera CLOSES IN on headline;

' C16 Serial killer claims fourth victim'

MR FALLEN  
Not even the newspaper.

Miss Monroe looks up at Fallen, they look at each other, worried.

CUT TO; Late afternoon. WIDE on airstrip. Small plane takes off. FOCUS ON Justin's jeep, parked near airstrip. Dina sits on the front of the jeep, her hair blowing when the small plane flies above her. She waves.

CUT TO; Interior of plane. Justin and Luke sits at the controls, flying the aeroplane. They smile, and Luke waves out the window at Dina. Justin looks out the window, and as the camera CLOSES IN on his jeep, we see that he is looking at his jeep worriedly.

CUT TO; Airstrip. Dina hops off the front of the jeep, jumps into it, and drives away, doing a wheelie as she leaves, dust flying up behind the tyres.

CUT TO; WIDE on the camping grounds by the lake. FOCUS on the prodigies' tent. Outside the tent, Mercedes and Trinity sit around a burnt out fire. They look at each other, sighing. They are bored and seem uncomfortable around each other.

MERCEDES  
So...

TRINITY  
So...

MERCEDES  
So...

They both sigh again.

MERCEDES  
So... what did you see before?

TRINITY  
Huh?

MERCEDES  
You had a vision before.. what was it?

TRINITY  
Oh... nothing. Nothing important...

MERCEDES  
So, you have pretty strong visions hey? Luke says that sometimes you even get scented visions...

TRINITY  
Yeah...

MERCEDES  
I wish they came with an instruction manual...

TRINITY  
(laughing)  
Yeah...

The two girls smile at each other. The ice between them has been broken.

CUT TO; Calvin's office. Roschelle, JC, Mr Fallen, Miss Monroe and Calvin sit in Calvin's office, Calvin behind his desk, reading the newspaper, and the others in 'guest' chairs, except for Mr Fallen, who is leaning against the wall, his arms folded. They seem to be carrying on a conversation.

CALVIN  
One of the escaped Prodigy subjects?

MISS MONROE  
We can't be sure, however based on the information we obtained from the police, I'd have to go with 'yes'.

Calvin characteristically strokes his chin in thought.

MR FALLEN  
The real question is 'which one?'

JC  
And 'who's next?'

They all look at him questioningly, except for Roschelle, who seems lost in thought.

JC  
Well, each victim has been in the employment of C-16, and each were doctors assigned to Project Prodigy...

ROSCHELLE  
(stirring from thought)  
I know who's doing this, and I know who his next victim will be.

CUT TO; City street. Dina is at the hotdog vendor that Luke, Justin and Mercedes were at that morning. It is dusk, and the streets are emptying. The vendor hands Dina a hotdog, and she smiles her thanks, and begins walking down the street. She walks down the street, gazing at the wonders around her, peering through shop windows. The street lights are beginning to turn on, and Dina watches, fascinated, as they light up consecutively down the street. She smiles, eating her hotdog. Suddenly, a young African-American boy, approximately 8 years old and wearing a bright yellow jacket, who we will know as CASEY, runs past her, bumping her. Dina's hotdog falls to the ground.

DINA  
(yelling as the kid runs away)  
Hey!

As she stands staring down the street to where the kid disappeared, she seems thoughtful. She pulls the car keys from her pocket, and throws them up and down in her hand.

CUT TO; WIDE on an ordinary suburban street. FOCUS on house with a squad car parked out front, and an unmarked car we assume is the detective's. Police tape seals the front door and yard.

**Text On Screen: Flint, Michigan**

CUT TO; Interior of house. Two policemen sit on chairs in the kitchen, they are playing cards. Luke and Justin walk past them.

LUKE  
(to the two policemen as they go to stand)  
No need gentlemen, we know where the door is.

POLICEMAN 1  
Orright, detectives. Remember, if you need anything, we'll be here.

POLICEMAN 2  
(sighing, dejected)  
All night...

Justin and Luke smile falsely at the two policemen and then lift the police tape to go out the front door. They hop into the unmarked car. Once inside, they sit for a moment in silence, before Justin speaks.

JUSTIN  
We both know who he's going to go after next...

LUKE  
Do you think he would?

JUSTIN  
He's in pain Luke... he's hurting, he's hateful. He won't think of the danger...

LUKE  
What do we do?

JUSTIN  
Well, we have to stop him...

LUKE  
But Justin...

JUSTIN  
Luke... you know, above all others, that killing out of hate accomplishes nothing. It won't stop the feelings of revenge he's having. It won't make the pain go away.

A dark cloud seems to settle over Luke, and the eeriness returns to his persona, for just a second, he becomes unrecognisable, someone troubled... a killer.

LUKE  
No, but it ensures you won't feel any _more_ pain...

Justin looks at Luke, sympathy, friendship and perhaps even understanding lingers in his eyes. Justin opens a folder resting on the dashboard of the car. He opens it, to reveal a C-16 issued personnel photograph of Roschelle. He sighs, closes the folder, turns his gaze back toward the road, turns the key, and starts the car. It pulls away from the house.

CUT TO; Centre 16. Calvin's office. The C-16 team sit staring at Roschelle. They are continuing a conversation.

CALVIN  
(to Roschelle)  
I'm sorry, I wish I could do more, but we've already got three sweeper teams deployed elsewhere, and I've sent Weston and the others to Wisconsin to follow that lead on the escapees... I can probably have someone on you tomorrow...

ROSCHELLE  
(softly)  
Hey, I understand, Prodigy is more important, and besides, it's only one night

Calvin watches her carefully, tentatively, waiting for a response that never comes. He nods then, and replies gruffly.

CALVIN  
Right then... you folks should think about heading home eh?

JC  
This _is_ my home

MISS MONROE  
You live here?

JC  
Yeah, got a lovely little apartment down on SL-11, bars, 12 inch metal doors, the works.

Miss Monroe seems surprised to learn that JC is a prisoner of The Centre. She quickly hides her expression. Calvin stands, as do the others, obviously understanding that he wants them to leave. Calvin walks to the door, and holds it open as they leave. Once they are gone, he closes the door, turns his back to it, and strokes his chin in thought.

CUT TO; The corridor outside Calvin's office. Roschelle leans against the wall after she thinks that JC, Fallen and Miss Monroe have gone, closes her eyes and sighs. She has a FLASHBACK 

The simulation room with the metal bar across it, as in Justin's flashback. Justin and Luke hang from the bar upside down, while Subject 10 sits cross-legged in front of them. He has bandages wrapped around his head. Roschelle peers through the small window in the door from outside the simulation lab. Subject 10 seems to sense being watched, and stands. He turns slowly and walks over to the door, his eyes level with the window Roschelle looks through. He moves close to the window, his breath forming patterns on the glass. He stares at her for a long time, his steely gaze penetrating her own. His eyes are filled with venomous hate. Roshchelle swallows hard, and turns away from the door. Subject 10's gaze follows her until she is out of sight. 

Miss Monroe startles Roschelle by putting her hand on her shoulder. Roshelle almost jumps in fright. 

ROSCHELLE  
I thought you were heading home... 

MISS MONROE  
I am, I just had to talk to Calvin about one more thing... You should think about going home yourself... 

ROSCHELLE  
(distractedly)  
Yeah... Yeah 

Roschelle walks away, and Miss Monroe goes to knock on Calvin's door. 

CUT TO; Calvin's office. Calvin stands gazing out the large decorative windows in his office, overlooking the sweeping property of C-16. FOCUS in on the ring barked tree as in 1.01 Reunion. Miss Monroe knocks on the door. Calvin answers, without turning around. 

CALVIN  
Come in 

Miss Monroe enters. She stands at the front of his desk, awaiting him to turn around. Calvin turns slowly, reflective. 

CALVIN  
What can I do for you now, Miss Monroe? 

MISS MONROE  
Who's Rachel? 

CALVIN  
Excuse me? 

MISS MONROE  
She knew my mother, and I guess that means she would have known you... 

CALVIN  
Oh yes, Rachel, why do you ask? 

MISS MONROE  
(thinly disguising her true intent with sarcasm)  
Nostalgia 

Calvin sighs. 

CALVIN  
(firmly, but not unkind, almost fatherly)  
Miss Monroe, I have known you since you were a little girl. I was at your first holy communion, hell I even taught you how to tie your shoe laces, and now I am teaching you this; The Centre is a dangerous place. Now, I don't know why you came back here, God knows you should have stayed in New York, but you're here now, and that means you can't leave... not until you catch the Prodigies anyway. So let me help you out... don't go digging around in the past. It won't accomplish anything except danger and pain for the people involved. Besides, Roschelle is going through a lot right now, what with a psycho killer after her and all, so why not let sleeping beasts lie... 

MISS MONROE  
(suspiciously)  
What has any of this got to do with Roschelle? 

CALVIN  
(realising his mistake)  
Well, it involves us all, now doesn't it... Centre secrets and everything... 

MISS MONROE  
(pretending to believe him)  
Right... I guess 

Miss Monroe turns and walks away, but stops before leaving the office, and turns back to Calvin. 

MISS MONROE  
Oh and Calvin... thanks for the advice... 

Calvin smiles, satisfied that he has convinced Monroe to stop searching for answers. Miss Monroe exits the office, closing the door behind her. She smiles a characteristic wicked smile before walking away. 

CUT TO; A public park. Night. Dina pulls up in Justin's jeep. She steps out onto the grass, and walks over to the swings, where we see the young boy who ran into her before, and who we will know as CASEY, sitting on the swings. He seems sad. Dina walks over to him and sits on the swing beside him. She sits for a long moment in silence, before speaking. She is friendly toward him. 

DINA  
Wassup? 

CASEY  
(reluctant to speak)  
Nuthin' 

DINA  
Okay... 

They sit in silence for another long moment, before Casey speaks. 

CASEY  
My name is Casey. Do you have name? 

DINA  
I do now, it's Dina. 

CASEY  
Do you like your mom and dad, Dina? 

DINA  
I don't know my real mom and dad, but if I did, I'm sure I would like them. 

Casey seems pleased that they have something in common, and like most young children, automatically develops an affinity with Dina, and begins to open up. 

CASEY  
I don't know my real mom or dad either. They died when I was still a little boy. 

DINA  
And you're not a little boy anymore? 

Casey answers very matter-of-fact, and acts as though the fact is immediately obvious. 

CASEY  
No... 

Dina is amused. 

DINA  
Oh... okay... 

After another long pause, Casey adds sadly. 

CASEY  
Now I live with a foster family. But I don't like them. 

DINA  
Why not? 

CASEY  
Because. I want to live with Aunt Sue and Uncle Philip. 

DINA  
So why don't you? 

CASEY  
Aunt Sue says the government won't let me. 

DINA  
Oh... so now you have run away? 

She eyes the over-stuffed backpack on the ground next to the swings. 

CASEY  
How did you know? 

DINA  
Let's just say I've had experience... 

CASEY  
I don't want to go back... 

DINA  
But Casey, you have to. Your foster parents are probably worried sick about you... 

CASEY  
I'm going to live with Aunt Sue in Atlanta. 

DINA  
I'll yell you what... Let's make a deal... If you go home tonight, I promise I will help you go and live with your Aunt in Atlanta. 

CASEY  
How could you help? 

DINA  
I'm a social worker... 

CASEY  
(sceptically)  
You are? 

She stands up, and pulls the car keys out of her pocket. 

DINA  
I will be... C'mon, I'll give you a ride... 

CUT TO; WIDE on camping grounds. FOCUS on the Prodigies' tent. Trini sits trying to start a fire. Mercie enters with an armful of dry twigs. 

MERCEDES  
(about the firewood)  
This is all I could find 

TRINITY  
(exasperated)  
I can't even get this started... camping is harder than it seems... 

MERCEDES  
Well, it was your whacked in idea to camp... 

TRINITY  
It's 'whacked out', Mercedes. 

MERCEDES  
I know, so why did you suggest it? 

Trinity sighs. She is still attempting to light a fire. 

TRINITY  
Don't you want to experience life? I mean, what was the point in breaking out, if we were still going to deny ourselves freedom? 

MERCEDES  
I dunno, maybe so we could at least have a choice. Besides, I think it would be wrong of us to not use our gifts to help people... 

Trinity smiles. 

TRINITY  
'sall good, we were trained to multi-task, remember. We can save the world and party hard. 

Mercedes and Trinity both smile. Trinity still tries to light a fire, Mercedes watches on with a smile. 

MERCEDES  
I'm surprised they didn't teach us how to start a campfire. 

TRINITY  
(sarcastically)  
Well, it's not exactly an outdoorsy type place is it? Besides, I missed the father-daughter camping trip. (muttering) If only those boys hadn't taken the damn matches... 

Mercedes grins, understanding Trinity's frustration at not being able to do something. 

MERCEDES  
Dina back yet? 

TRINITY  
No, she rang, said she had a few things to do in town. Said something about an orphan... 

MERCEDES  
She is getting way to much like my brother... 

Trinity smiles, then suddenly a small flame appears where Trinity was trying to light the fire. 

TRINITY  
(screaming in excitement)  
I did it! I did it! I made fire! 

She jumps to her feet, and her and Mercedes jump around hugging and screaming with joy. 

MERCEDES  
Fire! She made Fire! 

CUT TO; WIDE on a typical house in an isolated area. There seems to be no others houses nearby. It is situated in an open forest, the moon filtering through the trees. A Centre issue black sedan pulls out front. Miss Monroe steps out of the car, and sets the car alarm. Two large dogs bark madly as she approaches the door. Miss Monroe glances around the 'garden'. There are little, if any actual plants, and it seems to have been taken over by weeds. She reaches to press the doorbell, but it only makes a sickly sound, as though it no longer works. She goes instead to knock on the door, but it is opened by Roschelle, wearing her work clothes, but with her jacket removed, sleeves rolled up, shirt untucked etc... She seems nervous. 

ROSCHELLE  
What are you doing here? 

MISS MONROE  
Nice to see you too. Thought you might like some company, what with 10 out and about and everything. 

Miss Monroe lifts her jacket back, showing part of her gun, as if offering Roschelle protection. Roschelle sighs, and opens the door wider, motioning for Monroe to come inside. Roschelle's house is sparsely and not decoratively furnished. Miss Monroe looks around quizzically. 

ROSCHELLE  
(from the kitchen)  
Can I get you a drink? Water? Juice? Coffee? 

MISS MONROE  
Have you got anything that burns? 

ROSCHELLE  
No 

MISS MONROE  
(raising her eyebrows)  
Alright then, I guess I'll have juice. 

Roschelle enters the lounge carrying two glasses of juice. She motions for Monroe to sit. 

ROSCHELLE  
Please, sit. 

Miss Monroe takes a seat on an old sofa. She sits on the edge, and seems uncomfortable with the ensuing silence. Roschelle and her both drink in silence. Roschelle is the first to speak, sadly, reflectively, and acceptingly. 

ROSCHELLE  
I deserve it 

MISS MONROE  
(not quite sure she heard right, not understanding)  
Sorry? 

ROSCHELLE  
I deserve to die... 

MISS MONROE  
It's like Calvin says... no-one deserves to die. 

ROSCHELLE  
That's right... neither did subject 10. 

MISS MONROE  
10's not dead, Roschelle. (She pats her gun) But he will be... 

ROSCHELLE  
You're wrong Monroe. 10 died three years ago in a Centre laboratory. He was given a lethal injection. I gave it to him. I killed him. 

MISS MONROE  
But... 

ROSCHELLE  
The experiment... we... re-stimulated his brain, shocked it with a drug we were testing, brought him back to life. He was only gone three minutes, but it... it changed him forever. He was never the same... 

MISS MONROE  
(attempting to sound comforting, although she obviously agrees with Roschelle)  
It's not your fault... 

ROSCHELLE  
(teary, voice breaking)  
Yes it is... (she sniffles, and recomposes herself) But now I have to live with that... or die for it... 

MISS MONROE  
I'm not going to let that happen.. 

CUT TO; Ordinary suburban street. Dina pulls up in Justin's jeep out the front of a typical suburban house. Casey and her both hop out of the jeep. Casey walks reluctantly behind Dina, as she approaches the front door and presses the buzzer. An African-American woman approximately 36 years old opens the door. We will know her as EDELLE MURPHY. She looks worried. When she sees Casey behind Dina, relief floods her face. 

EDELLE  
Oh thank God... 

She looks to Dina, her eyes questioning. 

DINA  
(offering her hand to shake)  
My name is Dina. I am a social worker, I found Casey in the park tonight. 

EDELLE  
Edelle Murphy... Is he... is he alright? 

CASEY  
I'm fine 

EDELLE  
Why do you keep doing this to us? 

Casey looks dejected. 

DINA  
How about we go inside? 

EDELLE  
Of course... come in... 

CUT TO; Inside the house. Dina and Casey are led into a nicely decorated lounge. 

EDELLE  
(to Casey)  
How about you take this (his bag) up to your room? 

Casey looks on, expressionless, and heads up a flight of stairs. Edelle turns her attention to Dina. 

DINA  
How long has he been doing this? 

EDELLE  
For about three months now, just after Sue and Phil Hart moved to Atlanta. 

DINA  
Is that his Aunt Sue? 

EDELLE  
No... No... she isn't really his Aunt. They were good friends of his parents, before they died. Casey and Sue were close, saw each other almost every day. But then Philip was offered a job in Atlanta and... They wanted to take Casey with them... wanted to adopt him actually... 

DINA  
Why didn't they? 

EDELLE  
They're white. Casey needs to be with people of his own race, people who understand him and his needs. That's the way the Government sees it anyway. 

DINA  
And how do you see it? 

EDELLE  
I just want what's best for Case. And I see that to be in Atlanta. 

Dina looks thoughtful. 

CUT TO; WIDE on camping grounds near lake. FOCUS on the Prodigies' tent. Trinity and Mercie are sleeping in sleeping bags. All is quiet except for the soft hum of insects in the still night. Suddenly, both the girls sit bolt upright in bed, their eyes wide in fear. Trinity's voice cuts into the night air as she looks at Mercedes, who seems to already know what she is about to say. 

TRINITY  
(in a hoarse whisper)  
They're coming. 

CUT TO; A group of kids sit around a campfire. Weston, Haley and Porter are seen walking up to them and showing them pictures of the Prodigy Subjects. One kid nods and points. The sweepers, with a satisfied look on their faces, head in the direction pointed out by the kid. 

CUT TO; Roschelle's house. Monroe and Roschelle are still sitting in the lounge, in front of a lit fireplace, drinking juice. They are laughing at something, and it seems to be the tail end of a conversation. Miss Monroe, sensing that the conversation is now over, and feeling comfortable in Roschelle's presence, asks what she came to ask. 

MISS MONROE  
Who is Rachel? 

The smile disintegrates from Roschelle's face. 

ROSCHELLE  
Why do you ask? 

MISS MONROE  
She knew my mother. 

ROSCHELLE  
(standing and walking over to a cabinet)  
Maybe I do have something that burns... 

Roschelle searches through the cupboards for something to drink. 

MISS MONROE  
(more forcefully)  
Who is she, Roschelle? 

Roschelle turns around, her eyes tearful. 

ROSCHELLE  
What do you want me to say? 

MISS MONROE  
The truth 

ROSCHELLE  
The truth? Do you want to hear that she was my sister? That I hadn't seen her for four years, and then she died... Is that it? 

MISS MONROE  
I'm sorry... 

ROSCHELLE  
No you're not. 

Miss Monroe moves over to comfort Roschelle, who is now crying. 

ROSCHELLE  
She was my sister. She moved away and became a nurse here at C-16 in 1978. Four years later, there was... a fire.. her whole family... So that's why I'm here now... Rachel couldn't finish her contract. 

MISS MONROE  
I didn't know... 

ROSCHELLE  
How could you... 

Suddenly, a noise is heard outside, and the dogs start barking madly again. Miss Monroe seems concerned, Roschelle expectant. Miss Monroe stands, her hand resting on her gun. The lights go out, the fireplace illuminating Roschelle's fearful expression. Miss Monroe walks to the front door, and opens it slowly. There is no-one there. She closes it again, taking care to lock it. She turns to Roschelle. 

MISS MONROE  
How many doors do you have? 

ROSCHELLE  
Just the front one there and a back door. 

Miss Monroe draws her gun, and walks slowly and quietly through the lounge and into the kitchen. She turns into a laundry, where she sees the back door. A curtain covers the glass window. Miss Monroe draws the curtain back, to reveal Subject 10's face peering through menacingly. Miss Monroe jumps back momentarily in fright, but then quickly reaches for the door handle, which is turning as Subject 10 attempts to make his way inside. Miss Monroe screams to Roschelle. 

MISS MONROE  
It won't lock! 

Roschelle runs into the laundry, and is shocked still when she sees Subject 10 struggling with Monroe at the door. Roschelle doesn't move. 

MISS MONROE  
Roschelle! 

Roschelle stares at 10, her face frozen in fear and sadness, perhaps even regret. 

MISS MONROE  
Roschelle! 

Broken from her stillness, Roschelle pulls a washing machine from the wall, and tries to drag it in front of the door. Miss Monroe pushes the door closed, working against the force of 10 who is trying to push it open. Suddenly, a gunshot is heard, and the door becomes slack, indicating 10 is no longer pushing against it. Miss Monroe slams the door closed, and her and Roschelle move the washing machine in front of the door. Miss Monroe turns to Roschelle. 

MISS MONROE  
What was that? (the gunshot) 

ROSCHELLE  
Someone else is here... 

* * *

CUT TO; Trinity and Mercie are hurriedly packing a few items in bags, including water, rope, jackets, and batteries. They both pick up torches and turns them on. Trinity pulls gloves on her hands, Mercie puts on a beanie. They zip up they're jackets, put their backpacks on and step slowly and quietly out of their tent. It seems to be very cold outside, as the girls cringe against the night air, their breath creating misty patterns in the darkness. They are absolutely silent and stand absolutely still. Suddenly, a noise is heard in the bushes surrounding the campsite. Trinity jumps into action, indicating with hand signals for Mercie to go left. Mercie crouches low to the ground and begins to move out to the left. Trinity waits a few seconds before following her. They make it to the forestry, the trees providing some cover. They stand once more, tall tress concealing them from the clearing where the campsite is. We see Haley and Weston enter the area, their weapons drawn. Mercie and Trinity breathe heavily, panicked in the trees. Haley goes inside the tent, and Weston feels the coals in the fire. Haley emerges from the tent. 

HALEY  
They've cleared off 

WESTON  
They haven't been gone that long, the fire's still warm... 

Among the trees, Trinity moves away from Mercie, to conceal herself behind another tree. Mercie looks worried at first, but Trinity nods, indicating that it's alright. They look back to the campsite, but Weston and Haley aren't visible anymore. At that moment, Porter appears behind Mercie, his weapon fixed in the centre of her back. Mercie draws in a sharp breath, as Porter calls to the others. 

PORTER  
I've got one! 

Trinity leaps out from behind the tree, and kicks the gun from Porters hand. He goes to swing a punch, but Trinity skilfully avoids all his attempts to hit her. They fight for a few minutes, Trinity displaying exceptional martial arts skills. As Trinity and Porter fight, Mercie takes a fallen tree branch and knocks Porter over the head with it, knocking him unconscious. Weston and Haley can be heard crashing through the forest, and Mercie and Trinity run deeper into the forest in an attempt to evade them. FAST SHOTS of Trinity and Mercie running through the forest, and Weston and Haley a short distance behind them, INTERCUT with FLASHBACKS To the girls escaping from Centre 16 through the desert. Suddenly, Trinity and Mercie enter a small clearing edged by the lake. They are trapped as Weston and Haley approach with weapons drawn. 

CUT TO; WIDE on a city street. It is late at night, and few cars pass down the near-deserted roads. CLOSE IN on a sign out the front of a building that reads 

'Green Bay Social Services' 

A shadow darts past the sign, and a streetlight illuminates Dina, who is dressed in all black, resembling a burglar more than a genius. She looks around, and proceeds toward the building. She darts around the side of the building, and climbs up a garbage bin to reach a small window. She takes form her pocket a set of screwdrivers and other equipment, and takes out a flashlight, turns it on and puts it in her mouth as she goes to undo the latch on the window. However, the window just pushes open, and she does not need to unlock it. She expresses her surprise. 

DINA  
(muffled slightly by torch in her mouth)  
Huh. Guess they're not too worried about security in these parts. 

Dina slides herself in through the window, carefully landing on a desk below. 

CUT TO; Inside the room, Dina is standing on top of a desk. The room is dimly lit, and Dina moves her head around in order to shine the flashlight around (which is still in her mouth). 

DINA  
This is too easy... 

She spots a door, and, taking the small flashlight from her mouth, jumps off the desk towards it. Suddenly, a silent alarm goes off, indicated by a flashing red light on a panel on the wall. Dina sees this, and realises she has triggered an alarm. 

DINA  
...or maybe not. 

CUT TO; A security office we assume is that to which the silent alarm is connected. A security guard sits lazily in his chair, watching football. We see a red light flashing on a board behind him. 

CUT TO; The social services office. Dina runs over to a panel on the wall and pulls it open. Several wires of different colours are visible. Dina has a FLASHBACK 

Dina and Luke are sitting on an old couch in a warehouse, watching a TV and eating chips. They are watching the movie 'Speed', the segment where the main character is trying to diffuse the bomb under the bus. 

LUKE  
It's never the red one... 

DINA  
Huh? 

LUKE  
The wire... it's never the red wire. 

DINA  
How so? 

LUKE  
I have done a study... 

DINA  
Of Hollywood movies... 

LUKE  
Yes, that concludes that 93% of the time, it is the blue wire you need to cut. 

DINA  
The blue wire? 

LUKE  
The blue wire. See, it's a tricky bastard, because you know, blue, nice colour, the colour of the ocean, which I intend to visit some day. People almost always assume RED, because you know, red, fire... 

DINA  
I'll keep that in mind... 

LUKE  
(Biting into a chip)  
You do that... 

Dina shakes her head, a smile pulling at the corners of her mouth. She takes out a set of wire cutters, and goes to cut the blue wire, then changes her mind and cuts the red one. The alarm stops immediately, and Dina smiles. She goes over to a computer and turns it on. 

CUT TO; A security office we assume is that to which the silent alarm is connected. There is an ad break in the football game, and the security guard turns back to the board for a moment. The red light has stopped flashing. 

CUT TO; Roschelle's house. Roschelle is searching through her kitchen drawers frantically. 

ROSCHELLE  
I know it's in here somewhere 

MISS MONROE  
I always keep my 9mm handy. I can't believe you misplaced your weapon. 

ROSCHELLE  
It was in here. I put it in her when I came home... 

CUT TO; Outside the house, in the open forest. Luke and Justin face off with Subject ten. 

LUKE  
(lowering his gun from the sky, where he had obviously let off a warning shot, and aiming it at 10)  
Give it up 10, we've got you surrounded. 

Subject ten smiles, almost welcomingly to Luke. 

SUBJECT TEN  
You can not surround a person with two people... 

LUKE  
I know that. I just always wanted to say that... you know, like in the movies (he puts on a real masculine voice) "We've got you surrounded" 

Justin looks at Luke incredulously at Luke joking around and exchanging friendly banter with 10. Luke sees this look and looks back as if he doesn't understand what is the matter. 

SUBJECT 10  
You haven't changed much, 06, still bossing little seven around. 

JUSTIN  
It's Justin 

SUBJECT TEN  
Yeah and I'm Dec, but what's the dealio? 

LUKE  
Dealio? 

SUBJECT TEN (DEC)  
What are ya doin' 'ere? You gonna stop me? 

JUSTIN  
Uh, yeah. 

Dec draws a gun from under his jacket. 

DEC  
Swiped this from our little lady doctor friend. Gonna do some damage if ya know what I mean... 

He rubs the gun to the side of his temple. He seems sad. 

DEC  
Too bad we had to meet up like this. 

JUSTIN  
We didn't have to... 

Dec reverts to full sarcastic mode again. 

DEC  
Well, you guys never write, never call... 'cept now. Tell me my fellow torturees, why this one? Why you gonna save this one? 

JUSTIN  
You risk exposing us all... 

DEC  
Yeah, but that's not why you're really here, now is it? 

LUKE  
I don't know what you're talking about. 

DEC  
Yes you do. Say... it's a little cold out here, wanna go inside? 

Dec puts his hands in his pockets, and pulls out what looks like a detonator, a trigger for explosives. He pushes the button down with a maniacal grin, and the window nearby explodes. Luke and Justin duck, which gives Dec enough time to punch Justin out of the way, and knock Luke's gun out of his hand. Luke gets up and starts to fight Dec. 

CUT TO; Inside the house, Roschelle and Monroe have been knocked aside by the blast. Monroe stands, and helps Roschelle to her feet. At that moment, Luke smashes through the window next to the one that exploded. He was obviously thrown through, and lands near-unconscious on the floor. 

MONROE  
What are you doing here? 

LUKE  
(grunting and groaning)  
A little help here please. 

Roschelle and Monroe help Luke up, and he dusts himself, pulling pieces of glass from his arms. Miss Monroe looks at this, and expresses what Luke was probably feeling. 

MISS MONROE  
Ow... 

LUKE  
(darting a look at Roschelle)  
I've had worse... 

Miss Monroe focuses her gun at Luke. 

MISS MONROE  
I can see Fallen's face right now. (putting on a man's voice) "How'd you catch him, Monroe?" (back to her own) "Well, he just... dropped in" 

LUKE  
(seriously)  
If you want to live, you'll point that somewhere else? 

MISS MONROE  
Is that a threat? 

LUKE  
No, that was me telling you to point it at Dec. 

MONROE  
Dec? 

LUKE  
Ten. He's outside now, probably laying more explosives and planning in his own special maniacal way, the death of the not-so-good doctor here. 

A gunshot goes off. 

MONROE  
(lowering her gun)  
You alone? 

LUKE  
No, Justin's outside, we gotta move. 

The three rush to the front door, and Monroe pulls it open, only to reveal Dec leaning against the doorframe. A maniacal smile plastered on his young face. 

DEC  
(raising his gun to point directly at Roschelle)  
Honey, I'm home... 

CUT TO; Dina finishes typing something on the computer and prints it out. She picks up the printout and walks over to a filing cabinet, opens it and places the papers inside. She smiles, and then, with a somewhat quizzical look on her face, exclaims 

DINA  
Too easy 

CUT TO; Mercie and Trinity are trapped near the lake. Weston and Haley approach them carefully, joined by Porter, who emerges, panting, from the tress, blood streaming down his face from a gash on his head. trinity and Mercie look at each other knowingly, and then grip each others hands, and together they have a VISION. 

A quick flash of Dina in the Social Services Office. Then, Mercie and Trinity jumping into the lake. The murky water transforms into a road, where Trinity and Mercie stand in the middle screaming. 

Trinity and Mercie are physically moved by the vision, and the gasp for breath as it ends. The Sweepers continue to draw closer as Trinity and Mercedes look at each other once more, and, still holding hands, turn and jump into the cold lake in SLO-MO. The sweepers go to follow, but the water is too cold, and they jump back from the shock of it. 

WESTON  
They're never gonna make it... the water's too cold... 

CUT TO; Under the water, Mercie and Trinity struggle to swim, but they do not let go of each others hand. Trinity's long hair floats around them, as she pushes with her arms through the water, almost dragging Mercie behind her. 

CUT TO; Dina is sliding out of the window to the social services office. Just as she gets nearly out of the window, she receives a VISION from Mercie and Trini. 

Mercie and Trinity jumping into the lake. The murky water transforms into a road, where Trinity and Mercie stand in the middle screaming. 

Dina, shocked by the vision, falls out of the window, landing in the large industrial garbage bin below. She sits up, grime on her face, and pulls a wrapper that is stuck to her face off. She does not look happy. 

CUT TO; Dec stands with his gun aimed at Roschelle. Monroe does not have time to raise her gun. She goes to, but Dec shakes his head at her, a warning look on his face. 

DEC  
Always good to see old friends again.... (he looks to Monroe) and new ones... 

LUKE  
Where's Justin? 

DEC  
He offended a man with a weapon. And he was supposed to be the smartest of us all. Not too bright now, is he? 

Dec's smile fades quickly, and he looks at Luke, losing his taunting, sarcastic tone. 

DEC  
You don't have to be a part of this, you know. You can walk away now, I won't harm you, or this other skinny woman. (He motions to Monroe) I just want the Doc. 

LUKE  
(swallowing hard)  
I can't let you do that... 

DEC  
(regaining his previous taunting tone)  
Why is that? I mean, what has she ever done to you? That didn't cause pain, I mean? 

Luke looks blankly ahead. We know he does not want to leave, but also does not want to stay. 

DEC  
I thought it'd be something like that. You been hangin' with 06 too long. Oh well, if this is da way it has to be... 

CUT TO; Dec finishes of a roll of duct tape, taping Luke and Monroe on chairs, back to back. Roschelle sits by herself, just with her feet and hands bound. 

DEC  
Duct tape. Brilliant, isn't it? Trust the good ol' Doc to have some lying around this beat up ol' place. 

Luke has a disgusted look on his face, and Dec walks over to him, his face just inches away from Luke's. 

DEC  
I figured it out. 

LUKE  
Yay you. 

DEC  
It's guilt, isn't it? 

LUKE  
You better 'splain man, cos this duct tape's cutting off the blood to my brain... 

DEC  
You didn't do anything to help me. 

A forlorn look crosses Luke's face, and we know Dec has hit the target. 

DEC  
See, I knew it. (he loses his taunting tone again) You guys were like... like brothers to me, seven. How could you let them do that to me? 

Tears form in Luke's eyes, and he barely whispers a reply 

LUKE  
We were... we couldn't have helped... 

DEC  
(regaining his taunting tone)  
But it could have been you they took. You could have gone instead of me... But they picked me. I guess I just wasn't smart enough... not like you and Justin. So now you're here, all guilty-like, trying to stop me exacting my revenge, and saving the life of a woman who has spent nearly half that life torturing you. I see the logic, yeah. 

MONROE  
What, are you gonna talk us to death? A man with big talk has little action pal... 

DEC  
Action? I'll give you action doll... 

He pulls out a flick knife and walks over to Monroe. Luke attempts to distract him with more talk. 

LUKE  
But why now? Why wait this long to exact your revenge? 

DEC  
Well, you know what tomorrow is, don't you? 

LUKE  
(his eyes downcast)  
November 26 

DEC  
Yep. The anniversary of our escape. And what a party it's gonna be... 

At that moment, Justin walks through the door. Luke's gun in his hand. 

JUSTIN  
Looks like you got yourself a crasher... 

DEC  
You're s'posed to be dead? 

JUSTIN  
Is it my fault you're a lousy aim? 

Justin aims the gun at Dec, who glances toward his own, which lay on a table too far for him to reach. Justin shakes his head, and Dec looks disgruntled. 

CUT TO; The shore of the lake. Mercie and Trinity pull themselves up out of the water, cold, shivering and barely able to move. They look at each other, seemingly communicating without talking, and start limping into the surrounding forestry. The don't travel far when they reach a roadside, where Dina is waiting in Justin's jeep. Mercedes and Trinity have never seemed more glad to see her, and run up to her and hug her. 

TRINITY  
You got our message? 

DINA  
Loud, clear and (clutching her back as if it hurts) painful. 

Mercedes and Trinity hug her again. Dina pulls them gently off her. 

DINA  
We gotta get you to a safe place to get warmed up... 

CUT TO; Dec is tied up in duct tape, as is Miss Monroe and Roschelle still. Justin is finishing undoing Luke. Luke stands, and stretches. 

LUKE  
(about Dec) What are we gonna do with him? 

JUSTIN  
We can't leave him here. There'll be centre operatives crawling all over this place. We can't let them take him back there. 

Luke and Justin look at each other. 

JUSTIN  
You know what to do... (handing Luke his gun) 

Luke goes over and takes his gun off Justin. He drags Dec to his feet, who is now sobbing. 

DEC  
Yous can't do this to me... 

Luke pulls an unwilling Dec from the room, and outside. An eerie silence settles over those left in the room. 

MISS MONROE  
Thanks for the carnival game. 

JUSTIN  
It wasn't a gift. It was a message. And it was Luke's idea. 

MISS MONROE  
Well I got the message, but at the moment it's not centre operatives I have to worry about killing me. 

JUSTIN  
I'm not going to hurt you... 

MISS MONROE  
And yet you'd kill one of your own? 

Justin looks down, saddened, and then looks back to Miss Monroe. 

JUSTIN  
Do you remember our carnival? 

Miss Monroe looks toward Roschelle, who looks back at her quizzically. 

MISS MONROE  
No. 

Justin smiles sadly. 

JUSTIN  
I'll never forget. 

He leaves the room, and we hear the front door close after him. 

CUT TO; The Murphy's house. Dina and Edelle leave a room where Mercie and Trinity are lying sound asleep in bed. 

DINA  
How was Casey last night? 

EDELLE  
Not much better. Thank-you though, for all your help. 

DINA  
(glancing in to where Mercie and Trini are asleep)  
Thank-you for all yours... And I think that Casey might be getting his wish to live with aunt Sue in Atlanta. 

Edelle looks at Dina quizzically. 

DINA  
Seems that the adoption was approved after all, just... 'misfiled'. You should be getting the call soon. 

EDELLE  
You're not really a social worker, are you? 

DINA  
I am many things... 

EDELLE  
What you are is an angel... 

Casey comes down the hall. He sees Dina and his eyes light up. 

CASEY  
What are you doing back here? 

EDELLE  
Dina came to tell us that you can go and live with your aunt Sue and Uncle Phillip in Atlanta 

CASEY  
I can? 

Dina nods, smiling happily as Casey hugs her. 

CUT TO; Outside Roschelle's house, early morning. Centre operatives scour the area. Monroe and Roschelle stand back from all the commotion. Miss Monroe seems in deep reverie, but is in fact having a FLASHBACK, continuing on from the one she was having at the beginning of the episode. 

YOUNG JUSTIN  
Where'd you get that?

He points to the large stuffed animal under her arm.

YOUNG MISS MONROE  
My mom took me to a carnival

YOUNG JUSTIN  
What's a carnival?

YOUNG MISS MONROE  
You've never been to a carnival?

YOUNG JUSTIN  
If you tell me what it was, I'd be able to tell you if I've been.

YOUNG MISS MONROE  
I'll show you...

She takes her backpack off her shoulder, and pulls out a set of crayons.

MISS MONROE  
(hiding the fact that she uses crayons)  
These are my little brothers, they're not mine...

She picks up a crayon, and then spreads out a sheet of large paper by throwing it in the air. As it settles, we see that Miss Monroe has drawn a carnival mural all over Justin's walls. There is a Ferris Wheel, 'Laughing Clowns', a haunted house etc.. and lots of people having fun. Much time has passed, and the two kids sit on the floor, Justin looking at the picture in wonder and amazement.

YOUNG JUSTIN  
It looks incredible...

MISS MONROE  
It is, and it is lot's of fun. We should go sometime, me and you...

Justin smiles.

JUSTIN  
I was talking about the picture. You're very good.

MISS MONROE  
I'm going to be an artist when I finish school

JUSTIN  
What's an artist?

Young Miss Monroe smiles, and pushes Justin playfully.

An operative walks over to where Miss Monroe and Roschelle are standing, stirring Monroe from her flashback. Miss Monroe seems shocked to realise where she is, and Roschelle has been gazing at her curiously. The operative makes her presence known by grunting.

OPERATIVE  
Excuse me, Miss Monroe, we are still unable to locate a body.

MISS MONROE  
(distant)  
Yes... very good...

ROSCHELLE  
(to Monroe as the operative walks away)  
Are you OK?

MISS MONROE  
(distant)  
Yes... I'm fine. (stirred from her thought further, completely conscious now) I'm fine.

She walks away, leaving Roschelle staring at the space she was standing in.

CUT TO; Bus station. Justin and Luke sit on a bench, waiting for a bus. They are watching the sunrise, and seem to be each lost in their own thoughts.

LUKE  
I couldn't do it.

JUSTIN  
I didn't want you to.

LUKE  
I know. You just wanted them to think so, so that they'd stop looking.

JUSTIN  
Let's just hope he doesn't come back

LUKE  
He won't. Not if his revenge has lessened his pain.

JUSTIN  
Did it lessen yours?

Luke looks at Justin sadly for a long time, before shaking his head. He turns abruptly away then, and looks back out at the sunrise.

LUKE  
So today's the day...

JUSTIN  
Yeah...

LUKE  
We gonna do anything special?

JUSTIN  
I'm a bit tired... (turning to look at Luke and grinning)

LUKE  
(grinning back)  
Yeah...

They both look out at the sunrise, as a bus arrives, and the screen fades to black.

NEXT WEEK - 'The Last Night' - Miss Monroe and Justin are trapped in a high-security building, pursued by thugs with only one thing on their mind...


	7. 107 The Last Night

Justin and Miss Monroe are trapped in a high-security building...

** FILE SEVEN – The Last Night  
**(Story By Vokal & Screenplay by Jack)

EXT - CENTRE 16 - DAY 

**Text on Screen:   
** **Centre 16, Salt Lake City, Utah**

CALVIN  
(Voiceover) You're doing what? Now? 

CUT TO: INT - MISS MONROE'S OFFICE, CENTRE 16 

Miss Monroe is reclining in her chair, browsing over a file; Calvin stands in front of her desk, having just sprung to his feet from his seat. 

MISS MONROE  
(Looking lazily up from the file) Calvin, I do have a personal life and this weekend I'd like a chance to exercise it. 

CALVIN  
I'm not sure now is a good time. 

MISS MONROE  
Now is as good a time as any. I need some time off. And if I need to remind you that I'm the Director of Special Projects here… 

CALVIN  
Fine. Sure. We are under review, in case you've forgotten, Miss Monroe. 

MISS MONROE  
I haven't forgotten… much as I'd like to. And I'm sure you've noticed Fallen prancing in and out of here as often as he likes. About time I took the initiative and did a bit of prancing myself. (She stands) I'm out of here as of Friday evening. Let Roschelle and JC know; they can have a bit of time off too. And you can as well, if that doesn't go against your Japanese-style work ethic. 

She walks to the door and opens it as a signal for him to leave, and Calvin follows, but just before walking through - 

CALVIN  
Where did you learn about Japanese work ethics? 

MISS MONROE  
(Looking away) Part of my college course. 

Calvin gives her a suspicious look and leaves. She closes the door behind him and leans back against it, blowing a breath out, puffing up her cheeks. Then she gives a small, excited smile to herself. 

CUT TO: INT - CENTRE 16 TECH ROOM

JC sits at his laptop, tapping away a mile a minute, as usual. He seems to achieve something and he leans back and claps his hands loudly, once.

JC  
Yes! Calvin steps out of the shadows behind him. 

CALVIN  
Am I interrupting something?

Fast as lightning, JC slams his laptop closed and spins around in his chair, crossing his arms across his chest. 

JC  
Not anymore. 

CALVIN  
Good. Pack your bags, JC, you're going on an excursion. 

JC  
Where? 

CALVIN  
Where ever Miss Monroe decides to lead you. 

JC   
What? 

CALVIN  
Miss Monroe is taking some personal time this weekend and I'm a bit concerned about its nature. So I want you to…

JC (Understanding)   
You want me to follow her? I dunno, Calvin… 

CALVIN  
I do. I also know it's been two years, four months and seventeen days since you were allowed to go outside by yourself. About time you got some fresh air. 

JC  
And how do you know I won't do a runner? 

CALVIN  
(Turning away and examining a little metal statuette that sits on a desk) Your sister… 

JC visibly pales, gets nervous. 

JC  
What about her? 

CALVIN  
(Turning around to face JC full on) You 'do a runner' and she won't be there to receive her valedictory, JC. 

JC grips the arms of his chair, then runs a hand through his hair and sighs. 

JC  
I guess I'm packing a bag then. 

CALVIN  
A-S-A-P. And I want a report every hour on the hour, understood? 

JC nods, and Calvin leaves. JC turns back to his computer and bangs his fists down on the desk in a moment of anger, then scoops up his laptop and leaves the room also. 

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

EXT - ABANDONED WAREHOUSE 

**Text on Screen:   
Cheveux, New York**

CUT TO: INT - LIVING SPACE 

The empty space has been turned into a sort of free-for-all living room with a mix of old and new furniture. Luke sits at a battered table mucking around with some electronic gear, Mercedes is sitting on a table reading a book and Dina is sprawled out on an ugly velour couch watching the Discovery Channel on TV, albeit with terrible reception. Trinity lies on her back in the middle of the room, eyes closed. She suddenly sits up. 

TRINITY  
Oh, no… 

Justin enters, brandishing a newspaper. 

TRINITY (cont.)  
Quest time. 

She stands and grabs a chair, which she brings over to Luke's table and places next to him. Mercedes bends a page in her book and sets it down; ready to listen to what she knows is coming, but Dina remains sprawled on the couch. 

JUSTIN  
Uh, Dina, could you turn that horribly tuned television off so I can show you this? 

DINA  
(Not taking her eyes from the screen)  
Is it another terribly important quest to help the downtrodden, or a vegetarian pizza? 

MERCEDES  
A vegetarian pizza. 

DINA  
Right answer! She jumps up and turns the TV off, then turns around and sees that there isn't a pizza. She rolls her eyes and joins them any way. 

JUSTIN  
I need your help on this, guys. 

LUKE  
(Not looking up from his computer gear)  
We're all ears, J. 

JUSTIN  
I might need your eyes too. 

Luke sets down his tools and gives Justin a pointed look. Justin nods and pulls a photo of a handsome young man and a folded newspaper article out of his pocket, hands them to the others. 

JUSTIN  
Meet Tony Stanza. He was a construction worker on Sienna Towers, that new project a few blocks away. 

DINA  
Was? 

JUSTIN  
He died about a month ago on the project. His widow has finally got herself together and tried to claim his union insurance. They refused to pay out, saying that he hadn't taken all possible safety precautions and so basically, it was his own fault he fell 12 stories to his death while fixing skylights to a custom built apartment on the top floor without a safety harness. 

TRINITY  
I feel bad for his wife and everything, Justin, but how exactly does this involve us? 

JUSTIN  
He didn't choose to not use a harness, Trini, it wasn't even supplied. I've been taking a look at the paper work of the financier, a guy called Gragator, and it turns out he didn't even provide basic safety equipment. Which is against work-safety laws, and not only does he not provide a safe work place; but he makes his other employees lie to cover his own butt when something goes wrong. This is the third time in eight months that someone one on one of his projects has died on the job. 

MERCEDES  
Okay, so we're going to bowl for the home team - 

LUKE  
'Bat' 

MERCEDES  
What? 

LUKE  
'Bat' for the home team - 

MERCEDES  
Yeah, right. So, give us the 411 on your plan. 

Justin smiles and pulls a large poster from behind his back, which he spreads out on the desk. It is a compressed copy of the building's blueprints. 

JUSTIN  
It's a new high-tech place, controlled by a central computer. Now this computer does everything, from the security systems to the central heating, to organizing the movements of the elevators. As a security precaution and to basically annoy anyone who lives or works above the sixth floor, there are two banks of elevators, one right above the other. One set goes from the ground to the sixth floor and the other goes from the sixth to the twelfth. They meet in a middle section, which is the computer floor. This is where Luke and… (He pauses) Trinity… will get into the computer area through an access hatch in the elevator shaft. 

Luke and Trinity share a grin, which Justin pretends not to see. 

JUSTIN (cont.)  
I'm going to get Gragator and Thipholand, Gragator's right-hand-man; onto the eighth floor, then Luke and Trinity will implement a lock-down on the floor so they can't get out. I want to get them on tape, confessing to how they've hurt so many families. 

MERCEDES  
So how are you going to do that? 

JUSTIN  
(Smiling craftily)  
I'm going to turn up the heat. 

CUT TO: EXT - GRAND CENTRAL STATION (MORNING) 

**Text on Screen:   
Grand Central Station New York, New York**

CUT TO: INT - PLATFORM 7 

Miss Monroe steps off the train dressed neatly in a silk blouse and short black skirt and her hair pinned back in a french knot, holding a leather carry-bag lightly. A woman, FAYE - Mid 20's - Female Calls to Miss Monroe. 

FAYE  
Monroe! Hey, Monroe! 

MISS MONROE  
(Looking around and seeing her friend)  
Faye! On time for once! 

It's obvious they are old friends as they walk with all the other people off the platform and into the main area of the station. 

CUT TO: INT - COFFEE HOUSE 

Miss Monroe and Faye are sitting down, sipping coffee from plain white cups in a trendy, modern "brushed-steel" coffeehouse. 

FAYE  
So, what have you been up to since you flew out of New York like a bat out of hell? 

MISS MONROE  
Oh, you know… Chasing down escaped, chemically enhanced children who's genius was being exploited by a secret organization… that kind of thing… 

Miss Monroe takes another sip of coffee and looks up to see Faye's shocked face. After a moment, the shock clears and she smiles, it seems she thinks Miss Monroe is joking. 

FAYE  
Yeah, okay, and I was bitten by a magical spider in high school. Now I swing across New York on a Spider's Thread and stop the bad guys from destroying the world as we know it twice a week 

MISS MONROE  
(Deciding not to set Faye straight) Whatever you have to tell yourself to justify the spandex suits, Faye. 

They have a small laugh, then Faye becomes serious again. 

FAYE  
Christopher is excited about the party tonight. 

MISS MONROE  
It'll be good to see him again 

CUT TO: EXT - SIENNA TOWERS - NIGHT 

People mill around the building, which is lit up from within. We see Miss Monroe walking with Faye, both are dressed in expensive evening dresses and Miss Monroe wears her hair loose. As they move on, Justin comes into focus, dressed in a tuxedo. We pick up Miss Monroe and Faye as a handsome young man, CHISTOPHER THORON - 27 years old - Male Greets them. 

CHRISTOPHER  
Faye! 

FAYE   
Cutting it a bit close, brother. 

CHRISTOPHER  
I know, sorry, I just got caught up at work and… 

MISS MONROE  
(Half hidden behind Faye)  
…Lost track of time? 

Christopher looks at Miss Monroe admiringly as she steps out of Faye's shadow. 

CHRISTOPHER   
Monroe… you look fantastic. 

MISS MONROE   
Flattery will get you nowhere with me, Chris. 

Christopher and Miss Monroe are looking at each other like they've known each other a long time and Faye turns away as they step forward and share a light kiss that suggests a long history. When they pull away, Christopher takes Miss Monroe's arm and continues to lead her toward the building. 

CHRISTOPHER  
(Gesturing to the building)   
Do you like it? 

MISS MONROE   
What's not to like? You designed it. 

CHRISTOPHER   
Flattery will get you nowhere with me, Monroe. 

They walk inside the building 

CUT TO: EXT - SIENNA TOWERS - SIDE ENTRANCE 

As opposed to the front of the building, the side entrance is quiet with no one around. Trinity and Luke lie in wait, both dressed in black; Luke carries a slim padded bag containing his computer equipment. 

TRINITY  
How about we get around the side there, get closer to the loading entrance? 

Luke nods affirmatively and they begin to move quietly along the side of the building 

CUT TO: EXT - LOADING ENTRANCE 

JC sits in front of his laptop, which is propped up on a pallet. He's speaking to the computer, recording a live video message to Calvin. 

JC   
She's at this place called Sienna Towers, Calvin, for the gala opening. I have no idea why she's in New York, but - 

Something storms him from the darkness in front and pushes his laptop closed, turning it off and breaking the connection. JC jumps to his feet. 

JC   
(Trying to be aggressive)   
Who's there? 

Luke and Trinity step out of the darkness, Luke pointing a gun at JC's chest. JC literally deflates as his eyes grow round. 

JC   
Wh... what are y-you doing h-here? 

LUKE   
Well, that depends on what you're doing here 

JC   
Oh, please, put down the gun, I'm not good with guns. 

LUKE   
Funny, you don't have a problem when they're pointed at us. 

JC   
Look, I'm not here for you. Please… 

Luke releases the safety, and JC begins to tremble. Trinity puts a hand on Luke's shoulder, leans in and whispers something in Luke's ear. JC looks worried at the possibility of what she might be saying as Luke nods. A moment later Luke puts the safety catch back on and sticks the gun into his waistband, then leaps forward and grabs JC by the collar. 

LUKE   
You're coming with us… He begins to pull JC away as Trinity puts her hand to her ear. 

TRINITY   
Justin, we have to abort. The L&R team is here at the towers… 

CUT TO: INT - SIENNA TOWERS LOBBY/HALLWAY 

Justin is standing on a half-balcony, overlooking the main lobby. We hear the second part of Trinity's warning through his earpiece as he looks down, sees Miss Monroe, and they catch each other's eye in surprise. 

TRINITY  
Repeat, you need to get out of there. Justin! 

JUSTIN  
(Murmuring to his collar microphone)   
Too late 

Miss Monroe is trying not to let on to her companions about her surprise at seeing Justin, and as they turn away to take glasses of champagne from a waiter, she looks up to find him but he's gone. Suddenly he's at her elbow, holding out a glass of champagne for her. 

JUSTIN   
Miss Monroe, what a pleasure to see you! (To Faye and Christopher) Could I steal Miss Monroe for just a moment? I'm afraid there's something rather urgent we need to discuss. 

FAYE   
Uh, sure 

Christopher doesn't look too happy, but turns away as Justin takes Miss Monroe by the arm and leads her away from the main part of the crowd to a quieter alcove. Miss Monroe pulls her arm away from Justin 

MISS MONROE   
Just what the hell do you think you're playing at, following me like this? 

JUSTIN   
I'm not following you; I'm just… (Not wanting to give away his plan to trap the two businessmen) Here on personal business. 

MISS MONROE   
That makes two of us. I finally get a weekend away from Utah and the rest of the team and you decide to turn up? 

JUSTIN   
The rest of the team isn't here? 

MISS MONROE   
No. And as much as I'd like to drag you away from here this very moment and handcuff you to something that wouldn't move with an earthquake, I have a feeling you'd be gone by the time I got back, so… I'm not going to bother. I'm off duty and I personally have nothing against you. Stay out of my way, and you'll still be free at the end of the night. 

Miss Monroe walks away; Justin looks surprised at this turn of events. Luke tries to raise Justin on the com. unit again. 

LUKE   
What was that about? 

JUSTIN   
That was Miss Monroe saying she isn't as tough as she wants The Centre to think. We're going to go ahead with this. 

LUKE   
She's lying, Justin, we caught their little computer geek outside. 

CUT TO: INT/EXT - JUSTIN'S JEEP/PARK 

Justin's jeep is parked among some trees in a park across the road from Sienna Towers. JC is leaning against the jeep, hands tied in front of him as Luke manages the radio and Trinity, Dina and Mercedes look on. 

JC   
No, she's telling the truth. The rest of the team isn't here. 

MERCEDES   
And you are…? 

JC   
(ashamed to admit why he's in New York)   
Following Miss Monroe to see what she does in her personal time. 

DINA   
From the look on your face, I'm guessing this wasn't your choice. 

JC   
You could say that again. 

LUKE (to radio)   
J, our hacker here says that Miss Monroe is on her own. 

JUSTIN   
Good then, let's finish this off. 

TRINITY   
Justin, are you sure - 

JUSTIN  
I'm sure! Please, get in here and be ready to isolate the eighth floor when I get them in there. 

Trinity and Luke exchange a look, then Luke pulls his bag to his shoulder and they run back toward the tower. 

CUT TO: SIENNA TOWERS RECEPTION ROOM 

Miss Monroe sits between Faye and Christopher at one table, Justin sits at another across the room. Neither of them are eating much of the fancy meal, but keep looking at each other across the room. The small smiles on their faces tell us that they are kind of pleased that the other is there. We see different speakers stand up to address the crowd, waiters distributing food and clearing dishes, yet Justin and Miss Monroe keep looking over to each other. Intercut with these pictures, we see Trinity and Luke climbing a rope in the elevator shaft, making their way into the computer room, Luke unpacking his computer, and Trinity standing watch as he hacks his way into the system. Back at the Reception, the Emcee stands up. 

EMCEE   
Well, everyone, when the final course is finished, please make your way down to the ballroom, where we have a band ready to give you some music to dance to! 

The crowd claps and people start to stand up and make their way out. Justin rises and follows the line of executives through a side door. 

CUT TO: INT/EXT - JUSTIN'S JEEP 

Dina sits inside the car, handling the radio but Mercedes and JC sit on the hood, talking. 

MERCEDES   
So… why were you in prison? 

JC  
How - ? 

MERCEDES   
I'm an empath, remember? Thoughts, feelings and memories don't go un-thought, unfelt or unremembered with me around. 

JC seems uncomfortable that she can 'read his thoughts', but tries to explain. 

JC  
It was a Greenpeace protest… 

Mercedes looks skeptical, JC continues 

JC   
Against nuclear weapons. I… I hacked into the D.O.D mainframe and activated a few missiles, aimed them at Washington. 

Off Mercedes, who looks shocked that this gentle-looking guy would do such a thing, JC hurries to fill in the blanks. 

JC   
They would never have gone off… I wouldn't have done that. It was just… we just thought that it would be good for the government to feel a bit of fear. Know that it could happen. 

MERCEDES   
A taste of their own paracetamol? 

JC   
What? 

MERCEDES   
Paracetamol. 

JC …   
Medicine? 

MERCEDES  
That's it; medicine. 

JC   
Well, yeah. They sit in silence for a moment. 

MERCEDES   
Well, I'm guessing that when you aim nuclear weapons at Washington DC, they don't just give you a slap on the wrist. 

JC   
You got that right. I spent about six months in… hell… before The Centre got me out. 

MERCEDES   
How'd they do that? 

JC   
They, ah, helped me fake my own suicide. They slipped me a drug that slowed down my heartbeat enough to make it appear as if I'd died of a drug OD, then paid the prison quack enough to prevent an investigation and autopsy. 

Mercedes looks unconvinced again. 

JC   
Look, I know it sounds like something out of "Mission: Impossible", but that's how it happened. 

MERCEDES   
You've gone from one prison to another, JC. 

JC nods slowly in agreement. 

CUT TO: INT - THE COMPUTER ROOM 

LUKE   
Justin, I'm in. Whenever you're ready, man. 

JUSTIN   
It might be a little while yet. I've got a problem. 

DINA   
How big a problem? 

JUSTIN   
Well, if you put them together… about 600 pounds… 

FROM JUSTIN'S POV (outside the door with glass panels): INT - PRIVATE LOUNGE The executives are now surrounded by three men who look like body-builders in tuxedos as they take a private drink. He backs away to think but almost as soon as he does, he moves forward again and knocks on the door. All inside are surprised by the intrusion, and one of the bodyguards has already reached for his gun. Justin puts his hands up in mock surrender. One of the bodyguards let him in, Mr. Gragator and the other execs look at him expectantly. 

JUSTIN   
Good evening, gentlemen. May I have quiet word with Mr. Gragator and Mr. Thipholand? 

MR GRAGATOR   
Whatever you have to say can be said in front of all of us. No secrets between partners. 

Justin raises his eyebrow and steps toward Gragator. He leans in close to him and whispers into Gragator's ear. 

JUSTIN   
You mean they know about how you do business? How you let men die on your projects to save a bit of money? 

Gragator pales but doesn't admit anything, Justin moves away to the drink tray. 

MR GRAGATOR   
Who are you? 

JUSTIN   
A reporter for the newspapers, Mr. Gragator. One who knows the truth. 

One of the other executives speak up. 

EXEC. #1   
What's this all about, Scott? 

MR GRAGATOR   
Nothing, Darren, just someone trying to pull a con. 

He makes a dismissing move to the bodyguards, who try to shepherd Justin to the door, but Justin stands his ground. 

JUSTIN   
If you want to speak to me, Mr. Gragator; Mr. Thipholand, and set me straight, how about you meet me in office 37 on the eighth floor? Half an hour? We can have a good old chat about anything you'd like. 

Justin moves toward the doors, taking a glass of champagne from the tray on the way, and as he walks out the door, he turns around and raises it in a mock toast to the two men. 

CUT TO: INT - CENTRE 16 - ROSCHELLE'S LAB 

**Text on Screen:   
Prodigy Wing Research Lab 2, Centre 16**

Roschelle sits at a lab bench, peering through a microscope. Calvin enters from behind, dressed in black coat and scarf as she looks up and makes some notes on a piece of paper. 

ROSCHELLE  
He hasn't reported back again? 

CALVIN  
It doesn't seem right. JC loves his sister too much to try anything crazy. 

FLASHBACK JC sits at a desk, Roschelle stands behind him with her hand on his shoulder. JC seems disheartened and unhappy, looking down at his hands in his lap. 

JC   
Mom and Dad didn't really care… but I just wish I had a picture of my sister. She'd make things in here seem a bit brighter. 

END FLASHBACK 

ROSCHELLE  
That was the impression I always got. 

CALVIN   
Something's gone wrong. I've got the sweepers firing up the jet and I'm heading out to New York. Want to come? 

ROSCHELLE   
What is this, a picnic? (She sighs) Yeah, I'm coming. 

As she stands up and sheds her lab coat, Mr. Fallen enters. 

MR FALLEN   
Calvin, Roschelle. (Nods in greeting) I believe two little Centre pigeons are out for a night on the town. 

ROSCHELLE   
(Sharing looks with Calvin) Well, I guess that's one way you could put it. 

Mr. Fallen slips on a pair of "cool" tinted sunglasses. 

MR FALLEN   
Then let's get going. 

Fallen leads the way out, followed by Calvin and then Roschelle, who seems to be containing a smile. 

INT - SIENNA TOWERS (MONTAGE) We see Justin leave a 'perch' on the balcony. As he does so, Miss Monroe looks up and sees him moving, she excuses herself and follows him. 

Justin enters the lift and presses the button for the sixth floor, waits patiently as the doors close. Miss Monroe comes from around the corner and watches the lights above the door change. We assume she knows about the half-half arrangement because it is only a moment before she heads for the stairs. Justin gets out on the 6th floor and presses the call button for another lift. A moment later Miss Monroe peeks from around the corner, hair slightly disheveled and face flushed. Justin steps in the new lift and she watches as the lights go up to the 8th floor, then stop. She smiles and takes the stairs again. 

INT - EIGHTH FLOOR, OFFICE 37 Justin leans against the sturdy wooden desk already in place in the luxurious office and looks up when he hears the door open. His expression quickly turns from expectancy to surprise when it is Miss Monroe who enters. 

JUSTIN   
What are you doing here? 

MISS MONROE   
That's what I want to know. How did you know I'd be here tonight and why on earth did you have to come? 

JUSTIN  
I didn't know you'd be here, it's just a flute that we both came here tonight. 

MISS MONROE   
Fluke.

JUSTIN   
What? 

MISS MONROE  
A "fluke" that we both came here tonight. 

JUSTIN  
Oh, right. (Pause) Look, you have to get out of here. 

He takes her by the elbow and pulls her toward the door. We cut away from the pair to the elevator, where Gragator, Thipholand and their three bodyguards are walking calmly out of the elevator. They hear Miss Monroe's next question - 

MISS MONROE   
Why? What are you up to? 

And turn right at a corner. 

JUSTIN   
I can't explain, but you have to - (He looks up and sees the men, bodyguards with guns at the ready; obviously changing the words he was planning to say) Run. 

He pushes Miss Monroe out of the doorway and follows her down a short hallway as the bodyguards open fire. He leads her to a large floor-level vent and pulls off the cover. 

JUSTIN   
My little door marked 'exit'. (He pulls his lapel up and talks into his mic.) Trinity, Luke, we're good to go. 

CUT TO: COMPUTER ROOM 

LUKE  
Copy that. 

Luke starts typing madly, fingers flying over the keyboard as Trinity keeps lookout. 

CUT BACK TO: EIGHTH FLOOR 

Justin and Miss Monroe are still at the entrance to the vent as the lights go out. 

JUSTIN   
(Whispering) Go, Monroe! 

MISS MONROE   
(Whispering back) I'm not a prissy little girl, Justin, you go first. 

JUSTIN  
For Christ's sake… 

They are interrupted by BODYGUARD #3 who shines a flashlight on them, but not really expecting to find them; he is surprised and slow to react. Justin pushes Miss Monroe out of the way as the bodyguard begins to fire. One of the bullets catches Justin in the side of the chest and we see him slam into a wall. Miss Monroe turns back and helps him up. The bodyguard turns the corner only to find the hallway empty. He gives a suspicious look and turns back to find the others. A close up on another office door shows that it is slightly ajar, and it is softly closed. 

CUT TO: COMPUTER ROOM 

LUKE (Through the com.)   
I've sealed off the floor and I'm turning up the heat. 

CLOSE IN on his computer screen; we see he is manipulating the air systems and he has turned up the heating system on the eighth floor to 50°C / 122°F 

CUT TO: EIGHTH FLOOR We see Justin and Miss Monroe in a montage of situations: Justin first tries his com. mic. 

JUSTIN   
Trinity - Luke - can you guys hear me? 

He gets no answer and knows that the equipment is smashed from the fall against the wall. He pulls the earpiece out and lets it hang freely. Justin and Miss Monroe try a door, to find it locked. Miss Monroe helps Justin, who is lagging behind, to the emergency stairs, but that door has also closed with the lockdown. They react to a noise from an unseen source and scurry to hide, only just avoiding the light of Bodyguard #2's torch. Justin and Miss Monroe attempt to return to the air vent but as they look around the corner, they see Bodyguard #1 stationed there. 

CUT TO: COMPUTER ROOM 

Luke and Trinity seem uneasy. 

LUKE   
I can't believe we haven't heard from him… 

TRINITY   
You don't think… he could still be up there? 

Luke and Trinity exchange horrified looks, and Luke gets typing on his computer again, Trinity leaning over his shoulder. 

TRINITY  
Stop the temperature changes and unseal the floor. 

LUKE  
(All his attention focused on the computer) Aye, aye, Captain 

CLOSE IN on the screen as a window opens, announcing that the security system has detected unauthorized access. A second line of flashing type appears, saying; "FULL BUILDING SHUTDOWN IMPLEMENTED" 

LUKE   
Dammit! He types furiously, trying to reverse it. 

TRINITY   
Turn the heat off, Luke! 

LUKE   
I'm trying! 

He continues typing but nothing seems to be working. Trinity leans over and touches his arm. 

TRINITY  
Luke, we're going to have to leave. 

LUKE   
We can't! Justin… 

TRINITY   
There'll be more trouble and a higher risk of exposure if we stay. 

Luke pauses and watches the window on the screen flash several times before making his reluctant decision. 

LUKE   
Okay, let's go. 

Luke and Trinity pack up in record time, leaving no evidence of their visit and run back toward the elevator shaft. They climb in and we see Luke pull the cover back over the entrance. 

INT - ELEVATOR SHAFT Luke and Trinity climb down the elevator shaft, bracing themselves between two beams. Above them, an elevator starts moving down, closing the distance quickly. 

TRINITY   
Jump! 

She and Luke jump to the roof of the lower elevator, landing hard; as the elevator continues to lower… Luke pulls Trinity down; they lay face down on the roof of the lower elevator. The top elevator continues coming down… Trinity squeezes her eyes closed and as it comes even lower, Luke does the same… And the elevator stops in position barely an inch or two above them, leaving them trapped and unable to move.

CUT TO: EXT – SIENNA TOWERS: GROUND FLOOR 

Alarms are now going off outside the building and the crowds from the opening gala are being evacuated. Dina and Mercedes hear the commotion and jump up, leaving JC in the jeep, to spy from the edges of the park. 

DINA   
What's going on? 

MERCEDES   
(Quietly, hoarsely)   
They're being evacuated. Something's gone wrong… 

They pause for a moment, then Mercedes looks up, a troubled expression on her face. 

MERCEDES   
… and Justin's in trouble. 

CUT TO: EIGHTH FLOOR – DARK OFFICE 

Only dim emergency lights provide light amongst the flashing red alarm lights. The office door opens and Miss Monroe helps Justin struggle in, settling behind the desk. Justin seems groggy and is sweating heavily. He almost falls into her lap and as she helps him sit up, her hands slip inside his jacket. They come out covered in blood, and she looks at them in horror. 

MISS MONROE   
Oh, God… Justin, what happened? 

She lays him down on the floor and pulls his jacket and shirt off as lightly as she can, gasping as she sees the bullet wound. She takes his jacket and presses it against the wound, applying pressure, but the blood continues to seep through. 

MISS MONROE   
(Worried, talking to herself)   
Oh, god, I'm not a doctor! What do I do? What should I do? 

Justin closes his eyes and we see a flashback - who's we don't know - 

Young Justin lies in the hospital bed (as seen in 1.01: Reunion) 

YOUNG JUSTIN   
Help me 

YOUNG MISS MONROE   
I'm not a doctor. 

YOUNG JUSTIN   
Please… 

End flashback 

Miss Monroe takes Justin's hand (which is hanging limply) and places it over his wound to hold the jacket in place. She begins to tear his shirt into strips, nearly sobbing with each tear of the shirt. 

MISS MONROE   
I'm not a doctor… god, what do I do, I'm not a doctor! 

CUT TO: EXT – JUSTIN'S JEEP 

Mercedes, JC and Dina stand around the front of the jeep, where Dina has Justin's set of Sienna Tower's blueprints spread over the hood. 

DINA   
There's a manual over-ride box out near the side entrance. 

MERCEDES   
But we don't have the gear to re-program it. 

JC   
I do. 

Mercedes and Dina give him skeptical looks. 

JC   
That's Miss Monroe in there too. You guys aren't the only ones with something to lose. 

Dina and Mercedes exchange looks and then turn back to him and nod. He grabs his computer and they leave the jeep. 

CUT TO: INT – CENTRE 16 JET 

Roschelle sits across from Calvin, Fallen sits across the aisle. He is speaking softly into his cell phone. He closes it and leans in toward Calvin and Roschelle. 

MR FALLEN   
I've just deployed a New York Sweeper team to check for any trouble. They're heading for Sienna Towers as we speak. 

Roschelle simply nods slightly and looks out the window. Calvin smiles slightly and strokes his chin in thought. 

CUT TO: INT – DARK OFFICE, EIGHTH FLOOR 

The temperature in the room has risen extremely high and both Justin and Miss Monroe are sweating. Justin seems to be unconscious, but stable, with a bandage made from his shirt in place. Miss Monroe gently rests her hand on his forehead, then smoothes his hair back. 

The alarms suddenly stop ringing, the red lights stop flashing, and all is quiet. 

MISS MONROE   
(Whispering to Justin, genuinely concerned )   
How are you? Are you okay?  
(Her concerned expression changes to one of mock disappointment, it is obvious she does not mean it)  
Can't have you dying before I get a chance to take you back to The Centre...

Justin doesn't answer and she sighs softly. She stands up and, with a struggle, rips the lower part of her expensive dress off, leaving her with a knee-length skirt. Just then, we hear murmuring voices from the other side of the door. Miss Monroe pauses, then pulls Justin up and drags him through a side door into a bathroom. No sooner does she close the door behind her than the three bodyguards burst in, guns drawn. 

We see Miss Monroe and Justin exit another side door from the bathroom into yet another hallway, going as fast as they can. 

Back in the office, the bodyguards have circled the desk and opened all the drawers and cupboards in the room. Bodyguard #2 bends down behind the desk and touches his finger to the floor, then lifts it up again, we CLOSE IN to see the blood on the tip. He looks closely around and sees a small trail towards the bathroom door. His expression hardens as he stands. 

CUT TO: EXT – SIENNA TOWERS, SIDE ENTRANCE – MANUAL OVERRIDE BOX 

JC stands with his laptop hooked up to the override box, typing quickly. He turns around for a split second and sees that Mercedes and Dina are no longer behind him. He shrugs and continues. A moment later, 

SECURITY #1   
Freeze! 

JC 'freezes' and puts his hands on his head as he turns around to see two security guards with guns drawn. 

SECURITY #1   
Now, step forward and – 

He doesn't complete his sentence, Mercedes and Dina appear from behind to club Security Guards #1 and #2 over the head with tree branches. JC smiles. 

JC   
Never thought I'd be so glad to see you guys. You got the moves! 

He turns back to his computer and begins typing again. Mercedes turns to Dina. 

MERCEDES   
(Mouthing, confused)   
_"Got the moves?"_

Dina, smiling, shrugs off Mercedes' question, indicating that it's all right. 

CUT TO: INT – ELEVATOR SHAFT 

Trinity and Luke remain sandwiched between the elevators. Trinity looks over at Luke, who has his eyes closed and is breathing deeply, frowning. 

TRINITY   
Could you cut that out? 

LUKE   
(Surprised, he opens his eyes)   
What? 

TRINITY   
Breathing so deep. You're stealing my oxygen. 

Luke looks at her, then starts laughing. 

TRINITY   
Stop it! Now you're using even more! 

Luke continues to laugh his infectious laugh and before long, Trinity begins to giggle and laugh too. 

LUKE   
(Through his laughter)   
You know, I think we're dying. Our brains are being deprived of oxygen, and that's why we're laughing in this completely and utterly inappropriate place. 

TRINITY   
(Through her laughter)   
Well, at least I'll die with the man I love. 

Luke stops laughing immediately and looks at her seriously. Trinity doesn't seem to realize what she has said for a moment, and then she too stops laughing, returning Luke's serious stare. 

They move closer together in an effort to kiss… but Luke's laptop is pressed between them and their heads are stuck only inches away from each other. They give each other another look, and burst into laughter again. 

CUT TO: EIGHTH FLOOR HALLWAY 

Miss Monroe supports Justin as they continue down yet another hallway, but Justin collapses. Miss Monroe tries to rouse him. 

MISS MONROE   
Justin… pats him on the cheeks Justin, we have to get out of here! Justin, wake up! 

Justin won't wake up again. Miss Monroe kneels beside him and gently strokes his hair. 

MISS MONROE   
(Softly, in a whispery tone)   
What the world needs now,   
Is love, sweet love,   
No, not just for some,   
But for everyone… 

CUT TO: EXT – SIENNA TOWERS, GROUND LEVEL 

People from the gala are milled around the building and there are police cars around. We weave through the crowds to find Christopher with his arm around Faye as she talks to a young policewoman, who takes notes. 

FAYE   
… Monroe. She's our friend, and she's still in there! 

Behind them a Centre issue black sedan pulls up and four men dressed in black suits, who we assume are sweepers, step out. 

CUT TO: EXT – SIENNA TOWERS, SIDE ENTRANCE – MANUAL OVERRIDE BOX 

JC finishes typing with a flourish and presses enter. We see a bar fill, indicating something is loading, and seconds later, a message appears, announcing 

"BUILDING SHUTDOWN REVERSED: UNSEALING SEQUENCE COMMENCING" 

JC   
(in delight)   
Yes! 

Mercedes and Dina also yell out with happiness and there is a crush as he is hugged by the two of them at the same time, all smiles. 

After a moment, the hug breaks and the two girls step away as JC begins to disconnect his computer from the mainframe. 

We follow Dina as she goes to a corner of the building and sees the sweepers as they break and start to spread out. She runs back to the other two. 

DINA   
Sweepers around the front, heading this way. 

She looks at Mercedes and nods, Dina begins to run away but stops when Mercedes doesn't. 

DINA   
Mercie! 

MERCEDES   
(to JC)   
I hope you see your family soon. 

Mercedes takes off quickly, following Dina into the underbrush, leaving JC confused: he never told her about his family… 

CUT TO: INT – ELEVATOR SHAFT 

Luke and Trinity remain trapped between the two elevators. Trinity seems to have passed out, her eyes are closed and her face is paler than normal. Luke watches her concernedly. 

Suddenly the elevator they are lying down on begins to move down. Luke looks up, surprised, then turns to rouse Trinity. 

LUKE   
Trini, wake up. Trini… 

Trinity wakes up and Luke points down at a hatch in the roof of the elevator. 

CUT TO: INT – ELEVATOR 

Trinity lowers into shot from the hatch; Luke follows, lowering himself. Trinity reaches out for the control panel and we CLOSE IN to see that she presses the button for the Sixth Floor. 

LUKE   
What are you doing? 

TRINITY   
We have to go back for Justin. 

CUT TO: EIGHTH FLOOR HALLWAY 

Justin's head is resting in Miss Monroe's lap as she continues to smooth his hair back. Miss Monroe looks hot and flustered, almost ready to pass out herself. The lights turn on in succession until the halls are brightly lit; Miss Monroe and Justin are now highly visible. Recognizing the danger, Miss Monroe tries to lift Justin but is unable to shift him, nor does he awake in the attempt. Miss Monroe checks his pulse at the neck and seems concerned. 

CUT TO: SIXTH FLOOR ELEVATOR BANK 

A bell chimes and the doors of one lift open to reveal Trinity and Luke. They rush to another lift and hurry in, Luke pressing the button for the eighth floor on the way, then repeatedly pressing the "door close" button until it does so. 

CUT TO: EIGHTH FLOOR HALLWAY 

Justin remains unconscious, head resting in Miss Monroe's lap, as voices get closer. 

BODYGUARD #1   
We've already checked out here, Baker. 

BODYGUARD #3 (BAKER)   
Where did you get your bodyguard licence, Davidson; out of the bottom of a Cornflakes box? Ever heard of backtracking? Ever heard of double checking, triple checking, and – 

A door opens onto the hallway almost directly opposite where Miss Monroe and Justin are and Baker stops in surprise at seeing them 

BAKER (cont.)   
… hitting the jackpot?   
(to Davidson)   
Get Messieurs Gragator and Thipholand out here. 

Davidson hesitates on seeing Justin's condition. 

BAKER (cont.)   
NOW! 

Davidson turns and leaves the hallway, while Baker and Bodyguard #2 cover Miss Monroe and Justin with their drawn weapons. It is only a moment before Davidson arrives with Gragator and Thipholand. 

GRAGATOR   
Well, then. Finish this, Baker. 

Baker looks surprised. 

BAKER   
Finish this? You mean kill him? 

GRAGATOR   
What else does 'finish this' mean? What did you think you were going to do? 

BAKER   
Take 'em out to the cops. 

Gragator looks slightly anxious at mention of the police. 

THIPHOLAND   
Mr. Gragator is right. Finish this now, Baker…   
(Thipholand draws a small gun from a shoulder holster, releases the safety, and points it toward Baker.)   
or you'll be finished right after him. 

Baker takes a breath and raises his gun, pointing at Justin; while Miss Monroe seems frozen in place. 

We hear a GUNSHOT, and by the turning of Baker's head we understand he didn't fire it. 

Behind Gragator, Thipholand and the bodyguards stand Luke and Trinity, Luke with his arm still in the air holding the gun he used to fire the shot toward the roof, while Trinity points a gun at the bodyguards, looking like she wishes she could throw it away. Luke lowers his gun and points it at Gragator, who seems to lose a bit of his nerve. Miss Monroe looks at Trinity and Luke with amazement and relief, with her hands still smoothing back Justin's hair. Luke smiles one of his cold, emotionless smiles. 

CUT TO: INT – SIENNA TOWERS' UNDERGROUND PARKING LOT 

Trinity and Luke come out the access stairs carrying Justin between them as Dina and Mercedes pull up in Justin's jeep. Luke and Trinity load Justin into the car and jump in themselves as Dina drops the clutch and they roar out. 

CUT TO: EXT – SIENNA TOWERS: GROUND LEVEL (EARLY MORNING) 

The area in front of the building is mostly deserted except for a several police cars and a few cops walking around. Miss Monroe stands in her torn evening gown with a blanket around her shoulders, looking drawn and exhausted. Christopher, Faye, the young policewoman and a more senior policeman stand with her, listening to her tell her story. 

MISS MONROE   
(Playing dumb)   
… And when I couldn't get out of the toilet block, I knew something had to be wrong. And then all those alarms started flashing, but I still couldn't get out. But when they stopped and the lights came back on, I tried the door again, and… 

She makes a hand gesture as if to say, "here I am". The policeman nods. 

POLICEMAN #1   
Thank you for your cooperation, ma'am. 

MISS MONROE   
(Sweetly)   
No problem at all, officer. 

The Policeman nods to the policewoman and they move away. Christopher is giving Miss Monroe suspicious looks. 

FAYE   
I'll go get the car. 

Miss Monroe nods, and draws the blanket closer around her as Faye walks away. Christopher turns to face her. 

CHRISTOPHER   
I don't believe you, Monroe. 

MISS MONROE   
What do you mean? 

CHRISTOPHER   
You got locked in the toilets? Come on. The toilet block never gets locked down. What really happened in there? 

Miss Monroe stays resolutely silent. Christopher sighs. 

CHRISTOPHER   
You're not the same person I remember, Monroe. You've changed… and not for the better. 

MISS MONROE   
You have to adapt if you want to survive, Chris. 

CHRISTOPHER   
But not at the expense of your friends. 

Miss Monroe remains silent, not willing to confide in him. 

CHRISTOPHER   
I don't know who you've become, Monroe, and what you've had to adapt to… 

MISS MONROE   
You wouldn't believe me if I told you. 

CHRISTOPHER   
I doubt you even know. I… I don't think we should see each other anymore. 

Miss Monroe looks down at the ground. Christopher leans over and kisses her gently on the forehead, then walks away. Miss Monroe looks up and watches him leave, then turns and sees a black sedan pull up and Fallen, Calvin and Roschelle get out; JC standing beside the Centre Sedan with the sweepers. She pauses, then walks toward them… 

CUT TO: INT – HOSPITAL WARD 

**_Text on Screen: Haywood General Hospital,  
New York, New York _**

Luke and Trinity sit in plastic seats next to Justin's hospital bed, while Mercedes reads his chart. 

MERCEDES   
Did you know your fever is down 4½ degrees today? 

JUSTIN   
Thanks, Doctor Mercedes. 

MERCEDES   
You're welcome. Did we get to the part about JC yet? 

JUSTIN   
Which part about JC? 

MERCEDES   
The bit where he found surveillance tapes of Gragator and Thrip – Thipho – 

JUSTIN   
Thipholand 

MERCEDES   
Yeah. That. While he was hacked into the main computer system, he came across footage of them talking about the claims for Tony Stanza's insurance and in no uncertain terms, it's basically a signed and sealed confession. The police should be getting it right about… she looks at her watch two minutes from now. And then Gragator and Thip… Oh, Gragator's right-hand, whatever his name is; will be off for a nice vacation. 

TRINITY   
I hear there's a cozy little place just out of town with nice steel doors and 4-inch bars on the windows. So safe no one can break in. Oh, did I say in? I meant out. 

The group smiles at each other, happy that their 'mission' has been accomplished. 

Dina enters the room, dressed in white coat and scrubs, carrying a clipboard. 

DINA   
(Smiling)   
Okay, people, Mr. Towers needs his rest. 

Amongst a chorus of "byes" and "see you later" 's, the group leaves, Dina follows and closes the door behind her. 

Justin leans back in his hospital bed, relaxing, and has a FLASHBACK 

Young Justin (13 years) and Young Miss Monroe sit on the bed in Justin's cell. 

YOUNG MISS MONROE   
Guess what? It's my birthday today. 

YOUNG JUSTIN   
Really? Birthday? What do you do on a birthday? 

YOUNG MISS MONROE   
Well, some kids have parties… 

YOUNG JUSTIN   
Parties? 

YOUNG MISS MONROE   
… But Daddy is always too busy… and Mom... well... so I just got a few presents this morning. 

YOUNG JUSTIN   
Presents? Why would someone give you something today that they wouldn't give you normally? 

YOUNG MISS MONROE   
It's a celebration. I got some music. 

YOUNG JUSTIN   
You got some music? You mean you wrote some? Like Mozart? 

YOUNG MISS MONROE   
Mozart? No, Daddy gave me a Madonna tape. 

The look on Young Justin's face says it all: he doesn't know who or what Madonna is. Young Miss Monroe grins and moves closer to him, turning to look into his eyes.

YOUNG MISS MONROE  
This is one of my mom's favourites... she used to sing it to me when I was a little girl... before... before things changed...

Miss Monroe begins to sing softly 

YOUNG MISS MONROE  
What the world needs now,   
Is love, sweet love,   
No, not just for some,   
But for everyone… 

END FLASHBACK

Justin smiles gently, closes his eyes and begins to hum as we PULL OUT of the room and the screen fades to black. 

** THE END **

Next Week - In a Prodigy Xmas special, Miss Monroe realises the true extent of corruption within C-16, and Mercedes plans the perfect xmas for the prodigies...


	8. 108 Ho Ho Who?

This Week, in a Prodigy Christmas special, Mercedes attempts to host the 'perfect' Xmas, Luke and Trinity continue to grow closer, and Justin investigates the meaning and purpose of the key...

** FILE EIGHT – Ho, Ho, Who?  
**(Written by Vokal) 

WIDE on a city street. Xmas decorations hang from wherever possible, and people bustle down the streets carrying presents and large bags. Trinity, wearing black leather and purple sunglasses with purple lenses and riding Luke's motorcycle, speeds down the street. She is smiling as she swerves to avoid traffic and people. She glances at the decorations as she passes. 

TRINITY (Voiceover, VO)  
Have you ever noticed how everyone seems happy around the holidays? Perfect strangers exchange friendly smiles, families come together to celebrate - or at least that's what I see on TV. Honestly, I just don't understand the whole Xmas thing. I mean, a baby, born in an animal's stable on a bed of hay, to a _ virgin_, is the son of God and saved everyone from their sins? My logical mind can not comprehend it, let alone understand it. Yet how do so many seemingly intelligent people get sucked into what is so obviously a marketing ploy designed and executed to create money? I don't know. What I do know is that this is our first Xmas together as a group, Luke, Dina, Mercedes, Justin and I, and whatever it's significance, I am glad to be spending Xmas with the people who are and will always be my true family, the only people I have ever been able to give the title 'family' to. 

WIDE on an apartment building in the city. Xmas decorations hang from windows, and a wreath decorates the front door. We see Luke's motorbike pull up at the front of the apartments, and Trinity gets off it, taking of her helmet, her long hair falling down her back. She takes a brown paper shopping bag off the back of the bike, and heads inside the apartment block. 

**Text On Screen:   
New York, New York**

CUT TO; Interior of the apartment. In the kitchen, Dina and Luke have their arms in large bowls, mixing something with their hands. Xmas carols play in the background. Dina and Luke seem frustrated that their attempts at cooking are failing. They also seem quite rushed.

DINA  
Beat to a cream? Beat to a cream?

Luke is engrossed in his own cooking, and fails to reply to Dina. This only serves to aggravate her more.

DINA  
Beat to a cream? Luke? Hello? What does this mean?

LUKE  
How do I know? I have lived at The Centre just as long as you, and then in self-induced seclusion, remember?

Justin, sitting on the lounge near the kitchen and twisting the key from the file they stole from C-16 through his fingers, chuckles slightly at Dina and Luke. This irritates them, and Dina snaps at Justin.

DINA  
You _could_ help you know...

JUSTIN  
Are you joking with me? I saw what happened at Thanksgiving...

DINA  
Which, by the way, you also did not help out with...

JUSTIN  
(in mock defence)  
I was working...!

DINA  
Working smirking!

LUKE  
You were off playing hero on that Indonesian freighter and left us to face her wrath...

JUSTIN  
Come on you guys... she's not that bad...

We hear the lock turn in the apartment door, and Justin springs to his feet, a terrified look on his face. He rushes over to the kitchen, and sticks his hand in the same bowl as Dina. Dina looks at him, amused.

JUSTIN  
(frantic)  
I gotta look busy...

Luke, Dina and Justin all seem overly fearful of whoever they believe is coming through the door. As Trinity glides gracefully into the room, a greeting smile on her face, they visibly relax, obviously relieved. Trinity looks at them questioningly.

LUKE  
We thought you were her...

TRINITY  
Who?

LUKE  
The Xmas Nazi...

TRINITY  
You been watching Roswell?

JUSTIN  
Mercedes is worse than a Xmas Nazi, she's like, she's like...-

TRINITY  
- how you are with your hero quests?

JUSTIN  
How do you always turn stuff around on me like that?

TRINITY  
So your sister wants a perfect Christmas, what's wrong with that?

DINA  
Oh nothing really, 'cept you weren't here last year...

Luke nods toward the bag Trinity has.

LUKE  
What's in the bag?

TRINITY  
I thought you might need these.

Trinity unpacks several items from the bag. They are mainly 'quick-mixes', or 'instant-mixes', particularly 'Instant Turkey Stuffing - Just add water' and 'Rum-Balls the easy way'. The others smile gratefully at her. Justin seems particularly intrigued.

JUSTIN  
Really? You used you empathic abilities to predict that we were having trouble preparing a Christmas feast, and so purchased several packets of imitation food-product that only requires water?

TRINITY  
(incredulously)  
No, I simply determined that a person who didn't even know what hotcakes were, a recluse and a man who is too obsessed with his quests to think about anything else, would have next-to-no clue about how to prepare a traditional Xmas meal.

DINA/LUKE/JUSTIN  
(in unison)  
Oh...

Dina takes a packet of Quick Mix and opens the box, pouring it into a clean bowl, and then pouring whatever was in her first bowl down the sink. It is a thick white goo.

DINA  
So... updates?

TRINITY  
Well, I checked out that place downtown you were talking about Luke, the one owned by what's his name with the thing on his whatever it's called...

LUKE  
And?

TRINITY  
And the stolen T-13 was trucked up north.. to Salt Lake City, about 6 years ago...

JUSTIN  
So we know that C-16 wanted a hell of a lot of this stuff... but what for?

LUKE  
My guess is that a hybrid chemical was used to counteract whatever chemicals they'd fed us over the years we were there...

JUSTIN  
Well that's my guess too, but we need more than guesses, we need conclusive evidence...

DINA  
And we need to know if that stuff is dangerous... or if whatever else they gave us was...

TRINITY  
And soon, I know, but that's all I could get from an unemployed ex-port manager...(she turns to Justin) What about you with the key?

JUSTIN  
Well, Mercie's empathic investigations only concluded what you thought - the key didn't belong to our mother, but it leads to valuable information of extreme importance to us and to C-16.

TRINITY  
Where is Mercedes?

LUKE  
She went to pick up a Christmas tree. She really does want the perfect Xmas.

TRINITY  
So why did she leave you guys in charge of the cooking?

LUKE  
Oh, we're not doing all the major cooking...

DINA  
Besides, last year Mercie left Justin in charge of getting the Xmas tree, and we cooked, but then Justin made... somewhat of a mistake...

JUSTIN  
(in his defence)  
I followed the diagram exactly!

Trinity looks at them speculatively.

TRINITY  
Diagram?

JUSTIN  
(still in his defence)  
The diameter was exact, and the height was well between the expressed guidelines...

DINA  
He bought a plastic tree...

Trinity and Luke are watching the exchange with animated expressions on their faces, both having missed out on experiencing the actual event.

DINA  
Rule number one, my genius friend - NEVER BUY A PLASTIC TREE!!

Suddenly, we hear a car horn, and a woman yelling up at the apartment building. Trinity walks over to the window and peers out.

CUT TO; Trinity's POINT OF VIEW outside the window. Mercedes has pulled up outside the apartment building in Justin's jeep, a rather large tree tied to it. She looks up at the window, shielding her eyes from the sunlight.

MERCIE  
(yelling up at the window)  
A little help here!

CUT TO; Trinity turns hurriedly back to the others, a near-fearful expression on her face.

TRINITY  
It's Mercedes!

JUSTIN  
(barking orders at Dina and Luke)  
Quick, hide those boxes, clean that mess... she's here!

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

CUT TO; WIDE on the exterior of Centre 16. A light snow covers the ground.

**Text On Screen:   
Centre 16  
Salt Lake City, Utah**

CUT TO; Interior. The main foyer. Miss Monroe enters carrying a large box. She comes to a security station before she enters the main foyer. She hands the box to a security guard, and places her hand on a screen. A green light moves down her hand, scanning it. This is obviously a new security system, and Miss Monroe looks annoyed. Mr Fallen walks past and spots her, waving slightly. Miss Monroe rolls her eyes. The security scan has stopped, and Miss Monroe is allowed through after a message appears on the screen that recognises her as 'Miss Monroe, Co-Director - Special Projects - Prodigy Wing' and approves her entrance. Mr Fallen has waited for the scan to stop and begins to walk with Miss Monroe as she heads into the main foyer.

MISS MONROE  
Is that bloody scan really necessary? I mean, I come here everyday, everyone knows who I am...

MR FALLEN  
Well, we must ensure that another incident does not occur...

MISS MONROE  
Incident?

MR FALLEN  
Such as the one that occurred just before my initiation as co-director of Special projects... Where one of the escaped prodigy subjects masqueraded as a certain Director of Centre 16, and managed to release several subjects being held...

MISS MONROE  
'Allegedly' Mr Fallen, nothing was ever proven...

MR FALLEN  
And a good thing too, or my title would lack the prefix 'co' and you would be... 'released' from your duties here at C-16.

Mr Fallen's tone when he said 'released' indicates something much worse, and Miss Monroe ignores this blatant scare-tactic, and smiles sweetly back at him.

MONROE  
Yes... good thing...

Miss Monroe spots Johanesson talking with another younger man, seeming in his late thirties. The camera picks up on this man, closing in on his glove-covered hand. He is missing a thumb. We recognise him as Mr Lyle. Miss Monroe nods toward him and smiles attractively. Johanesson and him start to walk over.

MONROE  
Who's the man with the missing appendage?

FALLEN  
Mr Lyle. A Centre big-wig from Bluecove.

MONROE  
(characteristically raising an eyebrow in suspicion)  
What is he doing here?

FALLEN  
Christmas shopping!

Mr Fallen smiles, obviously believing he has made quite an hilarious joke. The dry look on Monroe's face indicates otherwise. Fallen's smile fades somewhat.

FALLEN  
You know, browsing the shelves for information, technology, personnel, anything to keep Bluecove ahead of the rest...

A playful smile tugs at the corners of Monroe's mouth, and she digs her hand into the box she carries, and pulls out a large bow for the top of Xmas presents, sticking it onto Mr Fallen's head. As Lyle and Johanesson walk over Miss Monroe walks past them and smiles.

MISS MONROE  
(to Lyle, about Fallen)  
Merry Christmas, take him away!

Miss Monroe keeps walking away toward her office. Johanesson seems a little annoyed, but Mr Lyle finds this amusing and smiles as he watches her walk down the hall. Johaneson introduces Fallen to Lyle.

JOHANESSON  
Mr Fallen, I am honoured to introduce you to Mr Lyle...

Fallen sheepishly pulls the bow from his head, also looking at Miss Monroe quizzically, wondering why she suddenly developed, in his opinion, a weird sense of humour.

Lyle takes his eyes away from Miss Monroe's disappearing frame and looks at Fallen, shaking his hand in a polite greeting.

CUT TO; The Prodigies' apartment. 

** MUSICAL TRACK: '**Rockin' around the xmas tree' by Mary J Blige and Sheryl Crow (click here to listen)

The Xmas tree has been brought into the lounge room, and Dina and Mercedes are decorating it with decorations. Dina puts an ornament on the large tree, and then bends to pick up another one. As she does this and has her back turned, Mercie moves the ornament from it's original position and aligns it in another region of the tree, obviously deciding it looks better there. This process continues repeatedly. They are bouncing along to the fast beat of the music. Justin lies on the ground, the box of ornaments resting on his stomach. He seems preoccupied. Luke and Trinity sit on the lounge chair, Trinity resting on her knees, and try to untangle a mass of Xmas tree lights.

TRINITY (VO)  
I often wonder what would have happened if we had of stayed at Centre 16. I wonder if the people who died as a result of us being free would have still been killed. 12 and 13, Dr Bernard, Mr Monroe, the doctors that Dec killed... So much death is attributed to our escape, that sometimes I just think that maybe it wasn't all worth it. But then there are times like today, when everything we do seems to have a purpose, whether it be decorating a Xmas tree, untangling lights or dreaming of secrets soon to be revealed. Everything just seems so right...

Trinity is staring at Justin twirling the key between his fingers. Suddenly, she has a VISION

A newspaper falls onto a smooth desk. The headline reads;

"Chemical containers stolen from port"

Mr Monroe smiles wickedly, as he pushes the paper into the bin beside his desk. Roschelle looks up at him, a frightened look on her face. Roschelle is in a busy bus station, she takes out a key from her pocket, a key identical to the one Justin twirls between his fingers, and looks at, gripping it hard. She looks up and around the bus station suspiciously, before slowly walking toward a locker.

Trinity gasps, and falls from her knees onto her backside, a light sweat covering her face. She seems short of breath. Luke looks at her concernedly, and moves over beside her. She leans into his chest. Mercedes, Dina and Justin rush over to her side.

TRINITY  
I've seen something, I don't know what it means... but I think it may lead us to whatever lock that key fits...

CUT TO; Miss Monroe sits at her desk, wrapping a xmas present. The box she was carrying earlier sits on her desk, and she takes another xmas bow from it to decorate the top of the present. She looks up as JC walks into the office, closing the door behind him.

JC  
(looking at the present being wrapped)  
Gifts?

MISS MONROE  
(smiling)  
For my mom. I'm going to visit her tomorrow, just wanted to make sure she got something nice...

JC seems surprised

MISS MONROE  
What?

JC  
It's just that, well, from the way you talk about her I just, well, I always assumed that... that... she was dead...

MISS MONROE  
No. No. She 's physically alive, yes. But emotionally... psychologically.. well, the mother I loved died years ago, when I was still a little girl.

JC  
(quite confused)  
Oh...

At that moment, Mr Fallen enters, opening the door without knocking.

MR FALLEN  
(At the gift, sarcastically)  
Oh, for me? You shouldn't have...

MISS MONROE  
Quite the contrary, Mr Fallen. For xmas I am going to buy you a book, or an interactive CD-ROM. "The art of knocking"

She smiles a characteristic sarcastic smile at him. Mr Fallen seems unamused by this answer.

MR FALLEN  
What are you doing, Miss Monroe?

MISS MONROE  
High-level intellectual reasoning, Fallen. If I have a simple thought, I'll be sure to call you... (she winks sarcastically)

Again she smiles a characteristic sarcastic smile at him. And again Mr Fallen seems unamused by this answer.

MR FALLEN  
Well, you're on rare form today, Monroe...

MISS MONROE  
It's Christmas!

MR FALLEN  
(sarcastic and unemotional)  
Ho ho ho...

Past JC and Fallen and out the door, Miss Monroe sees Calvin and Roschelle talking secretively across the hall, which is really a large circular room with a hole in the middle, from which you could look down onto the offices on Level two. Both JC and Fallen turn slightly to follow Miss Monroe's gaze. They turn back and look at Monroe, suspicious looks on their faces, but none as suspicious as the one that now graced Monroe's.

MR FALLEN  
Seems Santa's little helpers are really helping themselves...

Fallen looks serious, assuming he'd just used a profound analogy. Both JC and Miss Monroe stifle laughter at this attempt. Miss Monroe stands and walks out of her office, leaving Fallen and JC to follow with their gaze. Just as she exits the office, Mr Lyle rounds the corner. It seems as though he wants to speak with her. Miss Monroe sighs.

MR LYLE  
Monroe, excellent, just the person I wanted to speak with...

MISS MONROE  
I'm on a break...

Mr Lyle grunts his disapproval.

MR LYLE  
Miss Monroe, how long have you been in employment by The Centre?

MISS MONROE  
Too long...

MR LYLE  
Then since when has there been 'breaks'

MISS MONROE  
It was a joke. As in 'ha ha'

MR LYLE  
You're young Monroe, your only fault...

MISS MONROE  
(rolling her eyes)  
Gee, thanks...

MR LYLE  
But you're gutsy... The Centre needs people like you...

MISS MONROE  
(in over-zealous agreement, obviously making fun of Lyle's speech)  
Damn straight...

MR LYLE  
I'd like you to consider an offer... to join me and my team at Bluecove...

Miss Monroe seems genuinely shocked and is unable to answer straight away

MR LYLE  
No need to answer now.. I'll give you some time to think about... 

Mr Lyle walks away, as Monroe stands shocked.

CUT TO; The prodigies' apartment. Bedroom. Trinity lies underneath a bed. Luke is asleep on the chair beside her. He stirs occasionally, moaning, as if in dream. Suddenly, Dina bursts the door open. She stops suddenly when she realises they are both asleep, and enters much more quietly, walking over to where Luke lies sleeping. She shakes him gently awake. He awakes with a start, slapping Dina's hand away. When he realises that it is just Dina, he visibly relaxes, and apologises. They whisper so as to not wake up Trinity.

LUKE  
Sorry...

DINA  
It's okay... Look, Justin and I are going to check out that bus station, Mercie is going to stay here...

LUKE  
I'm going with you and Justin...

DINA  
No, Justin doesn't want you to...

LUKE  
(raising his voice)  
I don't care what Justin wants!

Trinity stirs slightly, and Luke lowers his voice again.

LUKE  
I'm going...

DINA  
But you have to stay here and look after Trini. Her empathy is getting stronger, and it seems to be taking not only a physical toll on her, but an emotional one too. She needs _you_ here Luke, you know that.

Luke sighs in resignation.

LUKE  
Okay... but be careful.

Dina smiles as she walks out the door

DINA  
Always...

CUT TO; The grounds of Centre 16. Miss Monroe sits underneath the ring-barked tree, clasping a long jacket closed around her. It is cold. She looks up at the large cement building, massive dark-tinted windows covering most of it. She grimaces slightly, obviously deep in thought. She has a FLASHBACK

Young Miss Monroe ~ 13 years old, stares out the window of her fathers office. We follow her point-of-view out the window, and to where the prodigy subjects and Roschelle are outside near the tree. They are ring-barking it. Young Miss Monroe grimaces slightly, a grimace that was to become a characteristic trait. We hear the door close, and Miss Monroe turns to see her mother walk in.

GRACE  
(Unemotional, almost uncaring)  
It's time to go

Miss Monroe turns to her mother, a sad, far away look on her face. Her mother stares back, eyes cold.

The soles of JC's shoes made crunching sounds on the frosty grass as he approached where Miss Monroe sat. He sits silently beside her.

MISS MONROE  
(with a wry smile)  
You didn't knock

JC  
I don't when you're in your office, so...

He smiles sheepishly and Miss Monroe smiles back at him. She had grown to like the young man.

JC  
I heard you were made an offer...

MISS MONROE  
There are no secrets at The Centre...

JC  
Bet Fallen's hoping you take it. Then he can change that brass nameplate on his door to just plain old 'director'.

MISS MONROE  
I'd be surprised if he could spell it...

JC  
You gonna take the job in Bluecove?

MISS MONROE  
(thoughtfully)  
I don't know, JC... (she pauses for a long moment) You doing anything for Xmas?

JC  
Sitting in my cell watching shadows on the ceiling. Oops, did I say 'cell', I meant 'living space'. I'm beginning to understand how those prodigy subjects felt...

Miss Monroe has FLASHES

Very quick flashes of;   
- Young Justin ~ 13 years old sitting on the edge of his bed  
- Luke's pained expression, as in the DSA she watched in 'Kick'  
- Justin mouthing the words 'help me' in the infirmary  
- Mercedes sick in the infirmary as Miss Monroe walks past in SLO-MO  
- The sad and terrified expression on Trinity's face when she was cornered in her apartment building in 'Origin'

MISS MONROE  
I doubt it...

CUT TO; The Prodigies' apartment. Justin and Dina pack sports bags. Mercedes stands nearby nagging them.

MERCEDES  
You will be home for the Xmas Eve dinner won't you?

JUSTIN  
We'll try Mercie...

MERCEDES  
Try _and _achieve my brother...

Justin turns away from Mercie to pack another item into his bag. He smiles, rolling his eyes to Dina at the same time.

MERCEDES  
And don't think I didn't see that! I'm an Empath, Justin...

Justin cringes visibly at the sound of her voice. Dina laughs. Luke comes out of the bedroom, his hair slightly dishevelled from the unnatural way he had been sleeping. He has something wrapped in a black cloth. He walks in, locking eyes with Justin, and hands him the wrapped package. Justin carefully unwraps the package to reveal Luke's gun. He runs his fingers along the barrel. Dina watches with baited breathe, unsure of what Justin's reaction will be. As Justin holds the gun, we - 

CUT TO; Trinity lies asleep under the bed. She stirs slightly, disturbed by a bad dream.

CUT TO; Luke watches Justin, no words are spoken between the two young men, and yet they seem to understand what each other means. Justin's look is one of reluctance to accept the weapon, but also grateful at the same time. Luke's is one of warning, and a past sadness he seems to always posses in the presence of his gun. Justin folds the cloth back over it, and places it in his bag. As he does this, we - 

CUT TO; Trinity lies underneath the bed in the bedroom. She suddenly has a VISION

The same vision she had in 'Black, White and the Many Shades of Grey'

Luke points the gun at someone. We can not see their face. Luke is angry, his young face streaked with tears. He fires the gun.

Trinity awakes with a start. Her face covered in sweat, and her body trembling. She gets up, and walks to the window. From her POINT-OF-VIEW we see Dina and Justin climb into his jeep and drive away.

* * *

CUT TO; A darkened hall. We hear footsteps echo down a long corridor.

**Text On Screen:   
Prodigy Subjects' Living Quarters  
Sub-Level 18  
Centre 16  
Salt Lake City, Utah**

Suddenly the lights turn on in succession down the corridor. We see Miss Monroe standing by a power switch. She stands in a corridor lined on either side by what look like small white cells with large, thick metal doors in which there is only a very tiny glass window. 

The hall seems disused. Empty, and with many of the limited furnishings rusting, we assume the level has been abandoned. Miss Monroe stands still by the power switch for a long moment, obviously taking in the scenery. She then begins to walk slowly, almost in a trance, down the corridor, her hand brushing along the wall as she does so. She sees what looks like a transparent ghost - a vision - of herself run down the corridor with a huge smile on her face and carrying a large art book. 

The vision's hair flows out behind her, as if in SLO-MO. Miss Monroe follows the footsteps of this apparition, until they reach a door to a cell with the numbers '06' painted on the front. The young Miss Monroe - Miss Monroe's vision - opens the large art book she is holding, revealing a painting of Young Justin and Young Miss Monroe at a carnival, and holds it up to the small glass window. She holds it up to the glass for several moments, a large smile on her face. Miss Monroe walks into her apparition, and places her hand against the glass. 

Through the glass we see another ghost-like figure, this time of Young Justin. He sits on the edge of his bed, a greeting smile on his face. He stands and walks toward the door, as the apparition of Young Miss Monroe raises her hand to the glass too. When the Young Justin apparition reaches the door, he raises his hand, placing his palm against both the vision of young Miss Monroe and Miss Monroe's palm. 

As he does so, we see bandages stretching up his arm. He seems suddenly sad, so does both the vision of young Miss Monroe and Miss Monroe. Suddenly, Miss Monroe's cell phone rings, and the apparitions disappear. It takes Miss Monroe several moments to answer her phone, as she remains staring into the small white 'living quarters'. 

When finally she does answer the phone, she snaps at the person on the other end.

MISS MONROE  
Yes?

We hear JC's voice come through as Miss Monroe traces the red letters on the door with her fingers.

JC (on phone/off screen)  
Miss Monroe, your brother's here... you told me to let you know when he got in...?

MISS MONROE  
(emotionless)  
Thank-you, JC, I'll be right up...

Miss Monroe turns to stalk out of the corridor, but stops just near the power switch, takes one last look around, and then flicks the switch. The corridor once again falls into darkness.

* * *

CUT TO; Miss Monroe gets off the elevator to enter the main foyer of The Centre. JC meets her as the doors open.

MISS MONROE  
Where is he?

JC  
With Calvin...

Miss Monroe looks past JC to see a young man, who we will know as DAMON MONROE~ 23 years old and with the same black hair and blue eyes as Miss Monroe. He is wearing a navy uniform, and we assume he is in the service. Miss Monroe rolls her eyes and grimaces characteristically as she sees him talking to Calvin.

JC  
What's wrong?

MISS MONROE  
(as she begins to walk hastily over to where the two men are standing)  
Can't let little bro' Damon get caught up in this never-ending black abyss that is The Centre

JC  
Abyss' usually are never-ending...

MISS MONROE  
Whatever...

Miss Monroe and JC have reached where Damon and Calvin are standing. Her cold grimace immediately transforms to an exaggerated smile as she looks at Calvin.

MISS MONROE  
Catching up on old times?

DAMON  
Hey Monroe, no, Mr Calvin here was just informing me of the fantastic offer you've made...

Miss Monroe turns toward her brother, real warmth shining through her usually cold gaze.

MISS MONROE  
I couldn't even have a cigarette in this place without everyone knowing about it...

JC  
Actually, Centre 16 is a No-Smoking facility

MISS MONROE/CALVIN/DAMON  
Whatever...

Miss Monroe smiles at her brother and hugs him.

MISS MONROE  
Hey little bro'...

DAMON  
Hey sis'... 

They part from their hug, both looking extremely happy to see each other. 

MISS MONROE  
So... how long can you stay?

DAMON  
Few days... maybe longer...

MISS MONROE  
(slightly sad)  
We should go and see mom tomorrow...

DAMON  
(slightly sad)  
Yeah...

CUT TO; Night. Open highway - Justin's jeep. Dina drives, Justin sleeping with his head resting on his balled-up leather jacket against the car door. Dina glances over at him, and then turns her eyes back toward the road, sighing.

CUT TO; Prodigies' apartment. Luke sits on the sofa watching TV. All the lights are off, the glow from the TV illuminating parts of the lounge room. We hear the theme from 'Star Wars' blasting from the television. Trinity walks out from the bedroom, seemingly just having woken up, and looking quite dazed. Luke looks at her worriedly, and gets up from the sofa.

LUKE  
Are you OK?

TRINITY  
I'm not sure... something's happening to me... something... unnatural...

Trinity has walked over to the sofa where Luke now stands. He put his arms around her comfortingly, and pulls her down onto the sofa as he sits, so that she sits on his lap. She leans her head in against his chest, and he strokes her hair with his hand. His holds her hand in his other hand, gripping it tightly, as though he is afraid of letting it go in case he might lose her.

LUKE  
(while stroking Trinity's hair)  
Shh... it's okay... you'll be alright

Over Trinity's shoulder, we CLOSE IN on Luke's frightened, fearful expression...

CUT TO; Miss Monroe's bedroom. She lay asleep in her bed. Suddenly, the phone on the small table beside he rings. She stirs slightly, before waking completely. She rubs her eyes, and yawns as she picks up the phone.

MISS MONROE  
Yes?  
pause - we assume the person on the phone is asking a question  
This is she...  
pause - we assume the person on the phone is talking  
I'll be right over...

Miss Monroe almost jumps from her bed, and throws a nightgown on...

CUT TO; WIDE on what looks like a hospital of some sorts. Miss Monroe's car pulls up out the front, and we see two figures get out of the car. CAMERA FOLLOWS the figures, CLOSING to reveal they are Miss Monroe and Damon. They walk past a sign at the entrance;

'Greenwalt Asylum'

CUT TO; Interior. Miss Monroe and Damon are led by a nurse into a small room with only a bed and a chest of drawers. Both these items of furniture have been tipped over, their contents strewn across the small area. In the corner of the room is a woman GRACE MONROE ~ 52 years old. Miss Monroe looks at her sadly, and Grace looks up at her daughter, a grimace not unlike the one Miss Monroe continually gives Mr fallen crosses her face.

GRACE  
(suspiciously)  
Who are you?

MISS MONROE  
(gently)  
Mom, it's me... your daughter... Damon's here too

GRACE  
Damon? I know of no Damon. You're here to take the children aren't you?

Miss Monroe walks over to her mother and sits on the floor beside her, putting an arm around her. Grace seem confused at first, but she seems to be giving, recognising her daughter. Damon stands uncomfortably in the doorway, unsure of what to do...

MONROE  
(gently)  
Mom... there are no children here... it's just us...

Grace looks into her daughter's eyes, and seems to understand and recognise Monroe. She starts to cry, and Miss Monroe comforts her.

MISS MONROE  
Shhh...

CUT TO; The hall outside Grace's room, some time later. Miss Monroe is looking through the small window in the door to where Grace lies asleep in her now tidied bed and room. She turns away from the window and toward the doctor who approaches her. Damon leans against the wall on the opposite side of the hall.

MISS MONROE  
(to doctor)  
What happened?

DOCTOR  
We don't know... there seemed to be no stimuli for her erratic behaviour this time... But under the circumstances Miss Monroe, I don't think it would be wise for you to take her out for Xmas... she's just too uncertain at the moment.

Miss Monroe seems to be fighting back tears, and bites her bottom lip characteristically. She nods her agreement.

MISS MONROE  
(softly, sadly)  
Of course...

* * *

CUT TO; Sunrise, open road. Dina and Justin are in the jeep, Justin now driving. Dina is on the cell phone, we see her talking animatedly, to who we do not know. Justin has his eyes on the road, but seems tired. He shakes his head in an attempt to wake himself up. Dina finishes on the phone, and throws it down beside her.

DINA  
Uno says he can't help.

JUSTIN  
'Can't' or 'won't'?

DINA  
Well that's easily determined...

Justin seems preoccupied

DINA  
What's wrong?

JUSTIN  
I have a very bad feeling about this...

DINA  
What do you mean?

JUSTIN  
It all seems to easy... We go to Philadelphia, then to the bus station, then to the locker and hey presta! All the answers we've ever searched for fall into our laps...

DINA  
Hey presto...

JUSTIN  
What?

DINA  
It's 'hey presto', and J, don't worry about it... I mean, how would the L&R Team even know we know what we really shouldn't know?

JUSTIN  
You're right... you're right... I'm being paranoid aren't I?

DINA  
(with a smile)  
It's beginning to become you're career...

CUT O; The C16 main lobby. Mr Fallen is at the security scan. He seems disinterested, until he overhears two people talking. The scan finishes and Fallen ducks sneakily around the guards to see Roschelle and Calvin talking secretively. Suddenly he becomes VERY interested.

CALVIN  
(whispering secretively)  
I just hope it's enough to prevent her becoming interested in your agenda in Philly...

ROSCHELLE  
(whispering secretively, slightly angry)  
What do you want me to say Calvin? Thank-you? Thank-you for distracting Monroe with an offer to leave the one place she really hates to become some creeps trumped-up secretary so that I can go and clean up yet another one of your past messes?

CALVIN  
(whispering secretively)  
Just say you'll do it...

ROSCHELLE  
(whispering secretively)  
But what about the kids...?

CALVIN  
We both know it should have never been made... and when ordered destroyed... you should have destroyed it all...

ROSCHELLE  
But why now?

CALVIN  
Because now is when they'll need it the most...

Fallen looks away from the conversation as Calvin and Roschelle go their separate ways. He has a curious look on his face.

CUT TO; The prodigies' apartment. Trinity sits on the lounge, half dozing in the early morning. Mercedes and Luke enter with a large box. they think Trinity is still asleep and so be quiet so as not to disturb her. They start unpacking Xmas decorations. Trinity watches them.

TRINITY (VO)  
When we were all children... at The Centre... we never really got to see each other except when we were doing Sims or being educated, but I felt closer to those 14 other kids than... well I never really had anything to compare 'close' with. I didn't remember anything before The Centre. The other children would talk about their parents, their schools... It was only after we escaped that I found out I was born at The Centre... Now I couldn't imagine life inside those walls again. 

Luke spots Trini staring at them and smiles. He calls over to her, disturbing her from her thoughts.

LUKE  
Hey Trini! Come look what we picked up from Midnight shopping last night!

Trinity smiles and gets up, stretching as she does so. She walks over to the box and picks through the stuff. Luke grins at her sheepishly, somewhat excited and exclaims;

LUKE  
We didn't know what to get... what it was all for... so we just got everything...

MERCEDES  
Yes, with these religious customs comes both joy... and confusion...

Mercie looks at the decorations with dismay.

TRINITY  
(with a wry smile)  
You should have just left it at the tree...

MERCEDES  
Left what at the tree?

TRINITY  
The decorations...

MERCEDES  
What's wrong with them being here on the bench?

Trinity looks at Mercedes incredulously, and then looks to Luke for help. Luke shrugs his shoulders, and Trinity shakes her head, smiling.

CUT TO; Centre 16, Miss Monroe's office. Miss Monroe sits at her desk, staring at her bracelet with the sapphires on it, twirling it between her hands. JC sits at the chair opposite her, he is reading over some reports, relaying the info to Monroe, who doesn't seem to be paying any attention to him.

JC  
(reading from the papers in front of him)  
... accounting reported several unauthorized withdrawals from Centre Accounts last night, equalling a total of $5,000. Now, I tracked these withdrawals, and discovered that three were made at department stores in New York, and the other was at a travel agent... (noticing Monroe's vacant gaze) Miss Monroe? Hello?

Miss Monroe glances up from her bracelet, a vacant look on her face...

MONROE  
Huh?

JC  
What's wrong? I may have a lead to the subjects whereabouts and you...

MONROE  
... are thinking about other things...

JC  
Lyle's offer?

MONROE  
(sarcastically)  
And look who's suddenly become Nostradamus...

JC  
(ignoring Monroe's remark)  
You gonna take it? I mean, there's no reason for you stay...

MONROE  
(still twisting the bracelet)  
You're wrong JC, there are many...

At that moment, Fallen bursts through the door.

MONROE  
Why, come in Fallen... (under her breath) I have got to get myself a lock...

FALLEN  
Why now, Monroe, I believe I have information that may be of some use to you...

MONROE  
Don't 'believe', 'know' Fallen or stop wasting my time.

Fallen looks toward JC suspiciously.

MONROE  
Whatever you have to say to me, JC can hear. Not like he's Joe Criminal-Mastermind now, hey?

JC seems confused as to whether he should be offended or not.

FALLEN  
I think Roschelle and Calvin are up to something. I heard them talking, and it would seem that Lyle's offer is no more than a mere ploy to distract you from whatever scheme they are developing or un-developing - I heard Roschelle say something about past mistakes.

Monroe looks at Fallen suspiciously

MONROE  
Why are you telling me this?

FALLEN  
I think it can lead us to the subjects, or at least lead us to something that may lead us to the subjects...

MONROE  
No hidden agenda?

FALLEN  
None concerning or involving you... I promise... But whatever it is is going down in Philadelphia, tonight, Roschelle left an hour ago.

JC  
That's it! Last night an unauthorized withdrawal was made from The Centre's bank accounts, at a travel agent, on an economy class ticket to Philadelphia...

MONROE  
Why not take the C16 jet?

FALLEN  
Like I told you, this isn't official C16 business... this is something else...

Monroe almost jumps from her seat, and starts to head out the door, grabbing her jacket as she leaves. She turns to JC and Fallen as she enters the doorway

MONROE  
You boys coming?

JC and Fallen follow her.

* * *

CUT TO; The prodigies' apartment. Xmas carols play in the background and Luke and Trinity bop along as they hang decorations. Trinity is hanging tinsel from the ceiling, and Luke is picking out decorations from the box to hang up. They continually dart looks at each other, but break eye contact very quickly. He pulls out some mistletoe, holds it up and looks at Trinity questioningly.

LUKE  
Where does this go?

TRINITY  
In the doorway

LUKE  
Hmm... that'd be right, Mercie leaves us to do the grunt work again...

Luke nods and hangs the mistletoe in the doorway, as Trinity stops what she is doing and walks toward him. Luke has his arms in the air, putting up the mistletoe, as Trinity approaches him, placing her hands gently on his cheeks and kisses him. Luke moves back slightly, shocked, and stares at Trinty incredulously. He stammers as he speaks.

LUKE  
Wha... wha..., I mean, umm...

Trinity smiles shyly

TRINITY  
It's what you do, people under mistletoe, you kiss them

LUKE  
(somewhat relieved)  
Oh... so it is another one of the strange practices associated with this holiday festival? Kissing people under what is in all actuality, a plastic replica of a parasitic plant?

TRINITY  
Yes

Trinity walks closer toward him, her face merely inches from his

LUKE  
(swallowing hard at Trinity's closeness)  
It seems that I am unfamiliar with this custom

TRINITY  
Then it would seem that perhaps you need to practice

She moves in to kiss him again, and Luke nods at her suggestion

LUKE  
Maybe

And they kiss passionately, until we hear a mechanical crashing sound from Luke's laptop, signalling the finishing of some task. Trinity and Luke break apart, and Luke races over to his laptop, his face falls immediately as he reads whatever is on the screen.

LUKE  
Oh no...

CUT TO; WIDE on the Philadelphia skyline. FOCUS on Justin's jeep as it darts in and out of traffic on the freeway. In the jeep, Justin is driving and Dina is on the phone.

DINA  
(into phone)  
Are you sure? pause Right then turning to Justin Luke says that a C16 jet has just been deployed, and is currently en route to Philadelphia, will we abort?

JUSTIN  
No frickin' way...

DINA  
Luke says be careful...

Justin speeds up, darting in and out of the traffic, a determined look on his face... 

* * *

CUT TO; Centre 9 airstrip, Philadelphia. A jet lands on the runway. 

**Text On Screen:   
Centre 9  
Philadelphia, Pennsylvania **

CLOSE IN on Fallen, Miss Monroe and JC getting out of the jet. It is very noisy and we can not hear anything but the sound of the jet. A team of sweepers greet them, and Fallen and Monroe shake their hands. 

CUT TO; A briefing room inside Centre 9.

Miss Monroe is up front, instructing what looks like several teams of sweepers. She is authoritative and direct, and seemingly continuing a set of orders.

MISS MONROE  
... evidence gathered indicates the target is a locker at a bus station. Reliable sources further isolate the area to Philadelphia's west end, consequently narrowing our search area. You will sweep in teams of two - not three - thus allowing us to spread our resources over a wider distance. The contents of this locker may or may not be hazardous material, so it is advised that if you locate the target - do not approach it yourselves, but call to dispatch a cleaner team and stand guard.

Monroe glances over to Fallen, indicating it is his turn to speak. Fallen stands and takes his place out front as Monroe exits the room. We hear the beginning of Fallen's directions.

MR FALLEN  
This operation has been specified a level three classification. Those who need to know about it, know, those who don't know about it, obviously don't need to know. Therefore all information will be withheld from ignorant parties...

Fallen's voice grows quieter as Monroe exits the room and we follow her. She leans against the wall for several moments and closes her eyes. She has a SERIES OF FLASHBACKS

Miss Monroe arranges the letters that she cut from the files in 'Kick' into the words 'MENTOR T13'

Miss Monroe asks Calvin what 'Mentor T13' is

Miss Monroe deciphers the prodigies' clue

END SERIES OF FLASHBACKS

She sighs and opens her eyes again. Fallen comes out of the door behind her and nods toward her.

MR FALLEN  
There's a van out the front for us, you ready?

Miss Monroe nods, and follows Fallen as he walks down the corridor.

CUT TO; Dina and Justin pull up on the opposite side of the street to a bus station and climb out of the jeep. Justin reaches back into the car and takes out the gun Luke gave him, placing it in the inside pocket of his long leather coat. They walk toward the bus station.

CUT TO; The prodigies' apartment. Luke and Trinity sit opposite at the table, Luke drinking a can of coke in front of his laptop and Trinity twisting her hair around nervously. They keep throwing each other weird, uncomfortable looks. They both go to speak at the same time.

LUKE/TRINITY in unison  
So?

They both laugh nervously.

LUKE  
So...

TRINITY  
So...

At that moment, Mercedes walks through the door and Trinity and Luke visibly relax, both sighing in relief.

LUKE  
(A little too over-excited)  
Mercedes!

Mercedes puts down her grocery bags and smiles.

MERCEDES  
(suspiciously)  
What's going on?

TRINITY  
Nothing! Nothing's going on. What would be going on?

MERCEDES  
Okay then... what's going on with Dina and Justin?

LUKE  
(relieved the subject has changed)  
The C16 jet was deployed to Philadelphia, it should have touched down about an hour ago.

MERCEDES  
(worried)  
And what time were J and Dina scheduled to arrive at the bus station?

LUKE  
10 minutes ago...

MERCIE  
Will our people be out of there in time?

LUKE  
Let's hope so...

CUT TO; The bus station. Justin and Dina enter through the automatic doors, watchful, cautious expressions on their faces. They look around, until they spot the lockers from Trinity's vision. 

Camera CLOSES IN on the lockers. On Dina and Justin, their faces reveal some relief. Suddenly, both stiffen in shock or fright, their faces plainly expressing their emotions. Camera follows their line of sight, RUSHING TOWARD Roschelle, who sits at one of the chairs, holding a key in her hand. Dina and Justin take in short breaths, panicked. Justin sweeps the room hurriedly with his eyes, checking for sweepers or other C16 personnel. The camera follows his line of sight, doing that merry-go-round camera thing that makes you dizzy. 

When Justin feels safe enough, he begins to approach Roschelle, Dina follows him cautiously. As they draw nearer, they see that Roschelle has been crying. He sees the key she holds in her hand, and pulls his own out of his pocket. He sits in the chair beside her, rolling the key through his fingers. Dina maintains her distance, preferring instead to pace around the area, watching for sweepers. Justin and Roschelle begin to talk, neither making eye contact, instead just looking straight ahead.

JUSTIN  
(quietly, to Roschelle, and about the key)  
You left this for us... why?

ROSCHELLE  
It was a mistake. I never should have...

JUSTIN  
But you did. And now one question remains... will you stop us retrieving whatever is in that locker?

Roschelle looks at Justin for the first time since their conversation began. Her eyes are tearful, and it is difficult to determine what her answer may be...

CUT TO; The front of the bus station. A black unmarked van, typical of those used by The Centre, pulls up out front, directly across from Justin's jeep. Mr Fallen, Miss Monroe and two unknown sweepers step out. Miss Monroe looks up at the bus station.

MONROE  
This is the last one on our list of 'To Dos', move out.

The sweepers, Fallen and Monroe enter the bus station.

CUT TO; The prodigies' apartment. Luke and Trinity still sit at the table, Mercedes is in the kitchen nearby cooking. An uncomfortable air hangs over Luke and Trinity, and Mercedes seems to notice this. She watches as they dart looks at one another, looking away whenever they made eye contact.

MERCEDES  
I... um... forgot something... I need to run down to the shops and get it...

Luke and Trinity, oblivious to Mercies true intentions, mumble in reply. Mercedes exits the apartment, taking great care to slam the door loudly. She then opens it up again silently and peers in, watching Luke and Trinity. 

TRINITY (VO)  
It's funny, you know, how I can feel other peoples feelings, project feelings, and even anticipate feelings, but when it comes to expressing them... Well, a long silence usually ensues. Then follows my lame attempt at breaking the silence.

TRINITY (to Luke)  
Um... eh... Luke, I got you a Christmas present...

Trinity pulls a wrapped present from underneath the table and hands it to Luke, who seems confused.

TRINITY  
What's wrong?

LUKE  
I was under the impression that the exchanging of gifts didn't occur until Christmas morning...

TRINITY  
On occasion, people are allowed to give gifts early.

LUKE  
Oh...

He takes the gift and unwraps it, revealing 'Star Wars' on DVD.

TRINITY  
See, it's 'Star Wars' on DVD, so now you can watch it on your computer, and it has all extra stuff like behind-the-scenes and interviews.

Luke smiles his infectious smile, and things seem to have returned to normal.

LUKE  
Thank-you Trini. But unfortunately I was not aware of the early-present-giving exception, and so yours isn't yet wrapped

TRINITY  
There is also exceptions to giving people wrapped Xmas gifts

LUKE  
Oh this 'leading-a-normal-life' thing is way to hard to grasp... even for me, and I'm a genius...

Trinity smiles at Luke, and he smiles back, before getting up and going into his bedroom. He emerges several moments later with an unmarked paper bag, and handing it to Trinity, kisses her lightly on the cheek.

LUKE  
Merry Christmas...

From her watching spot at the door, Mercedes smiles, closing the door softly and walking away. Trinity pulls a case that jewellery comes in from the bag, and looks at Luke, a mixture of happiness, delight, surprise and shock on her face.

LUKE  
Well I was going to get you the new Creed CD, but I had heard that it just didn't live up to 'Human Clay', so...

Trinity opens the box to reveal a silver ring and pendent, decorated by small silver flowers with tiny diamonds as their centres. (CLICK HERE TO VIEW) Trinity looks up at Luke, a smile spread across her face and tears almost welling in her eyes.

TRINITY  
It's beautiful...

LUKE  
They're 'forget-me-not' flowers, so that we'll always...

Trinity finishes his sentence

TRINITY  
...remember each other...

Trinity stands up and walks over to Luke, who also stands. She looks into his eyes, her emotions clear. Luke takes her head in his hands, gently he touches his nose to hers, his hands still holding Trinity's head, as their lips draw closer. 

LUKE  
(Just above a whisper)  
I could never forget you... 

And they kiss (awww...:) 

CUT TO; The bus station. Miss Monroe, Fallen and The Sweepers enter the bus station, weapons concealed, and search the area for Roschelle. They spot her on the seat, handcuffed to it. Monroe rushes over.

MONROE  
What happened?

ROSCHELLE  
The subjects, they're here...

Miss Monroe instinctively draws her gun, taking great care to keep it concealed.

MONROE  
(to one of the sweepers)  
Get her out of here (then to Fallen and the other sweeper) Let's go...

CUT TO; Justin pulls open the door to the locker. Inside is a canister. Justin opens the canister and cold air rushes out. Inside is a large test tube, containing a dark green fluid. He takes it out of the locker and places it in the pocket of his long leather jacket. Justin turns to Dina, who has her back to him, keeping watch on the bus station around them.

JUSTIN  
We're good to go

DINA  
And not a moment too soon, they're here!

Justin and Dina make their way to the doors, but find them guarded by Roschelle and the other sweeper. Justin turns toward a side door, Dina following him, and exits via that, darting in and out of buses. Miss Monroe sees him, and gives chase, the sweeper and Fallen following her. Justin and Dina make their way into an office block beside the bus station, Monroe following close behind. Frantically, they search for someplace to hide, but are unable to find anywhere, so hop in the elevator. Dina presses the button for the third floor. Miss Monroe enters the office building, sees that the elevator is active and wait to see what number it stops at. When she sees it stops at three, she rushes up the nearby stairs. Fallen and the other sweeper enter the office building, and then follow Monroe up the stairs.

CUT TO; On the third floor, Justin and Dina get off the elevator, and run down a corridor, checking all the doors but they are either locked or have people in the offices. Passers-by seem concerned at their haste.

CUT TO; Miss Monroe, Fallen and the sweeper run up the stairs.

CUT TO; Dina and Justin find a door that isn't locked, and that isn't full, and enter that office. Once inside, they realise they are trapped as there is nowhere to go. Dina tries to lock the door.

DINA  
It won't lock!

CUT TO; Monroe, fallen and the sweeper exit the stairway, just in time to see the office door close behind Dina and Justin. Monroe smiles a wicked smile.

CUT TO; Inside the office, Dina and Justin barricade the door, as they hear the C16ers come down the corridor. They start to bang on the door, attempting to open it.

DINA  
We're trapped...

Justin looks toward the window

CUT TO; The Sweeper kicks against the door, as does Fallen. Monroe looks at them like they're stupid.

MONROE  
Screw that...

She draws her weapon and open fire on the door, almost blowing it to pieces.

CUT TO; Inside, Justin and Dina avoid Monroe's gunfire. Justin pull's Luke's gun from his pocket and shoots the window, glass shattering everywhere. Dina looks at him worriedly.

DINA  
(understanding what it is J wants her to do)  
No way...

JUSTIN  
Any way!

Justin picks up Dina and throws her out of the window. She falls and lands in a large garbage bin. Just as Monroe and the others enter the office, Justin jumps out the window himself, landing next to Dina.

DINA  
What is it with me and garbage?!?

Justin groans as he sits up, pulling a large piece of glass from his side, it's sharp edges trimmed with his blood.

DINA  
C'mon J, get up!

Dian helps Justin to his feet, and they climb out of the garbage bin. As they run away, Monroe, Fallen and the sweeper shoot at them, Justin turning and shooting back occasionally as him and Dina navigate traffic.

CUT TO; Aerial of Centre 16. Night.

CUT TO; Interior. Miss Monroe has just passed the security scan when she is approached by an angry Mr Lyle.

LYLE  
Monroe!

MONROE  
Not now Lyle...

Miss Monroe continues walking, but Lyle's voice stops her a second time.

LYLE  
Miss Monroe, The Centre will undoubtedly be rectifying the fallout of your adventures in Philadelphia earlier today for many years to come...

MONROE  
Rectify away...

LYLE  
Therefore consider my offer withdrawn. You will remain at Centre16 until you have completed your objective... or until your recklessness has surpassed your usefulness.

Mr Lyle walks past her, and Miss Monroe stands contemplating.

CUT TO; WIDE on the apartment block where the Prodigies are staying. A taxi pulls up out front, and two figures get out. CLOSE IN on the figures to reveal they are Dina and Justin.

CUT TO; Interior of the apartment. Mercedes opens the door for Dina and Justin, Justin clutching his side. Both Dina and Justin seem dejected. Luke and Trinity sit at the dinner table, a wondrous meal spreads out before them, seemingly in wait for Dina and Justin. Luke sees Justin's expression.

LUKE  
What's wrong? Did you get it?

Justin reaches into his pocket, sadly shaking his head. He pulls from his pocket a smashed test tube, slight remnants of the dark green fluid remain. As he holds out the test tube, his hands seem to shake, and it seems as though he is about to start crying. Mercedes pulls him into her, hugging him. Dina walks past them, and flops onto the couch.

DINA  
No Mentor T13, an injury, and we even lost the jeep. Merry Christmas...

TRINITY  
'Tis the season...

Mercedes stops hugging Justin.

MERCEDES  
C'mon, let's get you cleaned up, get that wound covered.

She leads him into the bathroom.

CUT TO; Miss Monroe's office. Miss Monroe enters her office, and walks straight over to her answering machine, the red light signalling she has a message. She presses the button to retrieve it.

DAMON (on answering machine)  
Hey sis it's me, look, I know you're going to be busy and everything, and with mom not coming home anymore... You know I was just thinking that... well they need a few more men back at sea, so I thought that... I could... help out. So, look I'll pack while you're out, have a merry Christmas... and I'll see you soon, love you...

Miss Monroe seems sad, and walks over to retrieve some files from her drawer, and is about o exit the door when JC opens it.

JC  
Hey, Monroe, heard how things went in Philly, bad luck... Just dropped by to let you know that Calvin's flown out to the ranch to be with his family... so...

MONROE  
Was he mad?

JC (sarcastically)  
That you went behind his back and compromised one of his secret missions? Nah...

Monroe smiles.

JC  
Alright then... you know, I'll see you after the holiday break...

MONROE  
Yeah JC, have a good one hey..

JC  
(smiling weakly)  
Yeah...

Monroe begins to walk away, then stops suddenly and turns back

MONROE  
JC, do you want to come over for dinner?

JC seems surprised

JC  
Uh... um... but... 

MONROE (feeling embarrassed for asking)  
Well, you know, you don't have to say yes... only if you want to.

JC  
No no no I'd love to, it's just that, well, I don't think that The Centre will let me out, you know, I don't even have security clearance.

MONROE  
Well, I have security clearance, and am already in the shit with The Centre right now anyway, so one more thing can't hurt now, can it?

JC  
Then, then I'd love to...

Miss Monroe smiles.

CUT TO; The prodigies apartment. Justin sits on the kitchen bench as Mercie finishes putting a bandage on his wound. he smiles.

JUSTIN  
C'mon, let's eat, I know how much you were looking forward to this Christmas thing...

Mercedes smiles at him, and they walk over to the table to join Luke and Trinity, as does Dina. They sit down and Justin carves the meat, Mercie dishes out potatoes. They all start to eat, smiling, laughing and having fun.

TRINITY (VO)  
So things don't always turn out the way you want them to, but hey, that's just life. I know that even though we had just failed, and even with all that we have been through together both in and out of The Centre, I am glad I am with Luke, Justin, Dina and Mercie, my family. Because the one thing about being a prodigy, the one good thing that emerged from the tragedy and torment of Centre 16 was these guys and my feelings toward them.

Underneath the table, Luke and Trinity hold hands.

TRINITY (VO)  
I have never had a biological family, but it has only been recently that I have realised that I do have a _real_ family, the people I love and who love me back.

CUT TO; Miss Monroe's home. JC sits at the table, and Miss Monroe places a large ham on the table, followed by a platter of vegetables. JC takes the knife and tries to carve the ham, but isn't having much luck. Laughing, Monroe takes the knife from him and carves instead. JC laughs.

CUT TO; Back with the prodigies. It begins to snow and they all rush to the window, pressing their faces against the glass, smiling, happy.

Trinity looks beside her toward Luke, their faces only a few inches from each other, and smiles. Luke smiles back.

TRINITY (VO)  
And while I may never fully understand why people believe in a God almighty, and why they celebrate such religious holidays, I will accept that it brings people together, gives them hope; gives them unity. And something that does all that _ and_ manages to involve a delicious feast, can't be all that bad.

CUT TO; Miss Monroe and JC pull a Xmas cracker, laughing as Miss Monroe gives JC the toy from inside, which is a little magnifying glass, and Monroe takes the paper crown and puts it on her head.

TRINITY (VO)  
I guess that these things surprise you, just like people often do. 

CUT TO; WIDE on prodigies' apartment building. We see people run out of the doors and onto the street. As the camera CLOSES we realise that they are the prodigies. Justin gathers snow from the ground, and makes a snowball, throwing at the back of Dina's head. Dina laughs and goes to go after him, but slips over, still laughing. Mercedes takes the opportunity to dump a load of snow on her head. Trinity throws a snowball at Justin, just before Luke runs past and sweeps her off her feet - literally, by picking her up, facing him, and almost holding her up to the sky. Trinity moves her hands from his shoulders and stretched them up into the falling snow, a smile spread across her face.

TRINITY (VO)  
But I don't know. I don't know if it's my empathic side or if it's just plain paranoia. But I can't shake this feeling. This strange, ominous feeling that our family will never be together again...

Trinity's smile fades as an AERIAL SHOT pulls out, the snow falling on Trinity's face as Luke holds up to the sky, and the screen fades to black. 

THE END

Next Week - Trinity is besieged by a mysterious illness...


	9. 109 Mentor T13 Part One

The Prodigies' worst fears come into being after Trinity is besieged by a mysterious illness...

** FILE NINE – Mentor T13 Prt 1  
**(Written By Vokal)

WIDE shot of Centre 16. It is night.

**Text On Screen:   
Centre 16  
Salt Lake City, Utah**

CUT TO; Interior. Miss Monroe's office. Miss Monroe reclines in her chair, files and information spread out all over her desk, and an open file laying in her lap. She is half-dozing when JC bursts through her door. Miss Monroe is startled awake.

JC  
Calvin's plane just touched down, Miss Monroe...

MISS MONROE  
Excellent, notify me the moment he arrives at The Centre

JC nods. Miss Monroe sits upright in her chair, an unreadable expression on her face.

CUT TO; A large lawn area in front of an equally large mansion, stylish gazebos decorated with fairy lights are dotted randomly throughout. Large banquet tables, hundreds of people and 'Happy New Year' banners are also evident. Music plays in the background.

**Text On Screen:   
Seattle, Washington**

We CLOSE IN on Trinity and Luke, Trinity donning a beautiful purple gown and Luke looking uncomfortable in a tuxedo. They are standing around talking with other young people. Trinity and Luke are both smiling, either pretending or actually enjoying themselves. Trinity excuses herself.

TRINITY  
Excuse me...

The others nod at her and Luke watches her for some time and we follow Trinity as she sneaks off behind a tree. Trinity raises her hand, and consequently a communication device disguised as a bracelet. She whispers into it.

TRINITY  
This is watchdog, watchdog to home base... (silence, long pause) watchdog to home base... (silence, long pause) J? For god's sake man are you there?

CUT TO; Next to the mansion, Justin and Mercedes sit silently in wait, dressed in all black and carrying black knapsacks. Justin wears his communication device, and finally answers Trinity.

JUSTIN  
Sorry Trini, you had me confused using that whole 'watchdog' thing

CUT TO; Trinity stands next to the tree, scouring the people at the party with her gaze.

TRINITY  
Which one is he? Your description of a "brown haired man in a tuxedo" isn't exactly what you'd call.... umm... useful.

JUSTIN (intercut)  
Well you're an empath, can't you like, read everyone's feelings, narrow down which ones you think are most likely to be young, conniving, thieving, self-made dotcom guys out to destroy an up-and-coming company that offers free distribution of software and information?

TRINITY  
(sarcastic)  
Sure, and I can do all that with my waning, dodgy empathic abilities that haven't been too kind to me of late, while you sit there on your ass enjoying the view...

JUSTIN  
Hey! I will be out there _risking_ my ass installing a hidden camera so we can catch all of Mr Dot Coms' evil deeds on film.

Mercedes finishes putting on her com piece and talks to Trini.

MERCEDES  
Trini, see what you can do, just keep an eye out, make sure no-one heads back to the mansion, the operation goes up at the beginning of the new year countdown.

CUT TO; Dina is in a black van, communication and surveillance equipment in front of her. 

DINA  
The operation 'goes down' Mercedes...

MERCEDES  
Oh...

DINA  
Keep me posted, and remember to be careful....

TRINI  
Later...

Trinity puts her hands away from her mouth, signalling the end of the convo. Trinity lurks near the tree, Luke comes up behind her and Trini jumps in fright.

LUKE  
I found him

TRINITY  
Who?

LUKE  
Spencer. You know, the guy we are supposed to be trailing. He's got hired thugs...

TRINITY  
I hate hired thugs... Where is he?

Luke points to a young man the same age as himself, flanked by two large bodyguards, and talking animatedly to a group of people.

TRINITY  
Let's watch him...

The song 'Hero' by Enrique Iglesias starts to play in the background, and Luke holds out his hand to Trinity...

LUKE  
Let's dance...

TRINITY  
(as she takes Luke's hand and they move closer)  
You don't know how to dance...

Luke twirls Trinity around gracefully, bringing her back to him, their bodies touching, Trinity is surprised.

LUKE  
I watched 'Dirty Dancing' and 'Strictly Ballroom' on the weekend...

Trinity smiles and they continue to dance for some time as the music continues to play. Trinity brings her hand up and touches Luke lightly on his face. Suddenly she has a violent VISION (as in Black, White...)

Luke points the gun at someone. We can not see their face. Luke is angry, his young face streaked with tears. He fires the gun.

Trinity attempts to come out of her vision, and we continue to see her vision, intercut with short clips of her in present time, her face clearly showing pain and how hard she is trying to come out of her vision. Trinity collapses on the ground, Luke bends down beside her. He is frantic, worried.

LUKE  
Are you okay? Trini? Can you hear me?

Luke turns behind him to see other people coming towards them to help, and also sees Spencer's hired thugs touch their ears as if listening to a transmission through the ear piece of their communication devices, and Spencer and his hired thugs head toward the direction of the mansion. The music stops and we hear the New Year Countdown begin, those who have not noticed Trinity, join in the countdown near the bandstand.

CROWD  
20

Luke turns back to Trinity, her face clearly showing her torment.

CROWD  
19

VISION

Luke points the gun at someone. We can not see their face. Luke is angry, his young face streaked with tears. He fires the gun. We see the bullet enter the chest of a man wearing a business suit, we do not see his face. The man falls to the ground, his feet toward the camera, once again concealing his identity.

Luke pushes Trinity's hair from her face, feeling her temperature. He is very worried. 

CROWD  
16

We hear Justin's voice come over the com. unit as the crowd continues the countdown.

JUSTIN (OS)  
Beginning operation, stand by... Luke, are we clear to deploy?

Luke attempts an answer, having to yell over the sound of the crowd.

LUKE (yelling)  
Justin, do not deploy! I repeat do not deploy! We have a man down and unfriendlies heading your way. Do not deploy!

CUT TO; Justin and Mercie make their way down the side of the mansion. Mercie takes out what looks like a weapon and shoots toward the window of the mansion. A hook trailing a rope digs itself into the window sill. Justin tries to make out Luke's communication message, but is unable to hear because of the interference from the countdown.

LUKE (OS)  
D... interference No interference Loy interference D interference

JUSTIN  
(into com unit)  
Luke, repeat, I can not hear you! Luke?!?

CUT TO; Dina is in the van, she attempts to communicate with Justin

DINA  
Justin, I am also experiencing interference, cancel the operation. Justin, do you read me? (to herself) I have a bad feeling about this...

CUT TO; Mercedes has already climbed up to the window sill and is finishing carefully cutting a piece of glass out. She attaches what looks like a plug, securing the glass to it, and pulling the glass out so that it does not smash and make a noise. Justin takes hold of the rope and hoists himself up, his com. unit still crackling as both Luke and Dina attempt to communicate.

CUT TO; Luke kneels beside Trinity as she writhes on the grass. Her arms fling about wildly, and Luke tries to hold them down.

LUKE  
Trinity... ssshhh.. it's me, Luke...

Trinity whispers his name unnaturally, at the same time she opens her eyes, they are glazed and have large red streaks through them. 

TRINITY  
Luke...

Luke hears noise behind him and turns around, the people moving towards them have grown closer.

CROWD  
7

He turns back to Trinity and gently closes her eyes. The people behind him arrive. The countdown continues.

MAN  
Is she alright?

LUKE  
Yeah... it's just sometimes... she gets these migraines...

WOMAN  
Should we get a doctor?

LUKE  
No! No it's okay, I'll take her home.

CROWD  
5

The people shrug, and walk away, Luke pulls Trinity to her feet, and realising she can't walk, pick her up and hold her gently in his arms. Her head hangs unnaturally limp. 

CUT TO; Dina is in the van, still trying to reach J on his com unit.

DINA  
Justin? Mercedes? I repeat DO NOT DEPLOY! (to herself) Something's going on

At that moment we hear the sound of gunfire, and several bullets penetrate the van's walls, hitting Dina. She grabs her wounds blood spilling over onto her hands. She sobs in pain. More gunfire, and Dina is injured further. She falls to the floor, blood flowing freely from her wounds, and her eyes fall closed. The sliding door to the van swings open, and men wearing jackets saying 'security' stand in front of it. One SECURITY PERSONNEL, who we will later know as CADE, takes her pulse.

CADE  
She's dead. (he steps down from the van, and surveys the wreckage) Let's clean this up...

CUT TO; Mercedes grabs Justin by the wrist, helping him through the window. Once inside, the hear the door behind them swing open in full force. They turn, their faces suddenly illuminated by flashlights.

SECURITY GUARD #1  
Freeze!

Several security guards, wearing all black with the word 'security' painted across their jackets, stand blocking the doorway, including Spencer's thugs. Spencer walks into the room from behind the guards. He smiles evilly.

CUT TO; Outside at the party, the countdown has nearly reached it's pinnacle. 

CROWD  
2.... 1... HAPPY NEW YEAR!

Framed against fireworks and celebrations, Luke slowly walks into the forest, cradling the now unconscious Trinity.

OPENING CREDITS

CUT TO; Miss Monroe storms down the hall and pulls the doors to Calvin's office open forcefully. She storms into his office, a firm expression on her face.

CALVIN (calmly)  
Can I help you?

MONROE  
How dare you? Why didn't you let me in on this? You should have told me what was in that locker, instead of letting me find out in that way! As it is I still don't know what it is?

CALVIN  
Roschelle hasn't told you?

MONROE  
Lights on sparky, Roschelle wouldn't wash her hair with out your authorization first... (Miss Monroe gives him a disapproving look) You should have let me in...

CALVIN  
Not on this... Not on Mentor T13...

MONROE  
Why?

CALVIN  
Because it didn't exist! At least, it never should have. 

MONROE  
Calvin, the cryptic might work on TV, but this is real life. I want the 411, and I want it straight. NOW.

Calvin characteristically strokes his chin, and stands up, turning his back to look thoughtfully out the window.

CALVIN  
When we first procured the kids... the subjects, most of them were naturally gifted, young prodigies in their own right. But that wasn't enough for The Centre. They had to be smarter, stronger, more advanced than nature could make them.

MONROE  
I know, I know, so they were injected with various chemicals that either induced or enhanced abilities. This is all in the Prodigy Report...

CALVIN  
What you won't find in the report, Miss Monroe, is that these chemicals had devastating side-effects. Seizures, convulsions, psychotic behaviour, mental deterioration, gradually increasing in ferocity until eventually leading to death.

Miss Monroe seems shocked.

CALVIN  
Project Prodigy originally consisted of twenty test subjects. We lost five before Roschelle was able to develop an inhibitor.

MISS MONROE  
T13

CALVIN  
Yes. Mentor T13. We developed it in secret, hoping to test it on the subjects without alerting your father.

MISS MONROE  
What has my father got to do with this?

CALVIN  
He severely disapproved of T13's use. However, it was necessary for the survival of the project, and so Roschelle and I administered it in secret. It was required in eight doses at regular intervals, in order to completely reverse the effects of the enhancer chemicals, however the effects, that came to be known around here as the 'Tarquin Insanity' could be controlled with regular, highly-diluted doses. We were on the seventh dose, when Mr Monroe discovered us, and ordered all remaining T13 destroyed.

Suddenly, Roschelle walks through the door.

ROSCHELLE  
Tell the truth Calvin. Monroe discovered us long before the seventh dose. Calvin tried to convince him it was in the best interests of the project, but Malcolm was worried that The Tower would find out what was going on.

FLASHBACK (as in 'Kick')

We sees YOUNG CALVIN ~ mid 40's, and YOUNG MR MONROE ~ 46 years old. They are in the hall, arguing.

MR MONROE  
You know we can't do that Calvin, sooner or later someone is going to realise…

CALVIN  
Think of the project, Malcolm, think of Prodigy.

MR MONROE  
I am thinking of the project, we can't do anything that may jeopardise its progress.

CALVIN  
These kids need this… you know it

MR MONROE  
Get rid of it

Calvin looks at him reluctantly

MR MONROE  
(yelling)  
Get rid of it!

They glance toward Young Trinity's room, and see her peeking through the window. 

ROSCHELLE  
But Calvin ordered me to keep making it in secret.

MISS MONROE  
To help the subjects...

ROSCHELLE (cynically)  
To control them. Calvin never intended on giving them the eighth dose. His plan was and always had been to control the prodigies through ransoming the T13. As long as they needed something from him, they would always have to do his bidding. So after the seventh dose,_ I_ destroyed the T13, all but one standard dose, so I could always make more, when the time came. But now that it is gone...

CALVIN  
Our subjects are just walking time bombs. At any moment, they could snap, and that's bad...

ROSCHELLE  
For the subjects

CALVIN  
And for The Centre. That's why we need those subjects back... soon.

* * *

CUT TO; A dimly lit room in Spencer's mansion. Justin is cuffed to a chair behind a desk, with an empty chair on it's other side. A handful of Spencer's men stand around watching him. Justin sits with his eyes closed, quietly meditating. The only door into the room opens suddenly, and Spencer walks in, followed by his head of security, whom we shall know as TAGGINS. Justin's eyes blink open.

SPENCER  
Hello Mr...? Well what _shall_ we call you now?

Taggins walks over and drops a folder on the desk. Spencer stands near the wall.

TAGGINS (in a distinct southern drawl)  
No identifiable fingerprints, no name, no record, no past, no ordinary run-of-the-mill thief.

JUSTIN (rolling his eyes)  
No patience. Just call the cops already...

TAGGINS (with a wicked grin)  
Now now, Mr No Name, why do we need to get the law involved? I'm quite sure we can work this out... civilly.

SPENCER (approaching Justin)  
Who sent you?

JUSTIN  
The Lord sent me to spread the Good News...

SPENCER  
Cute. Why don't we just ask your little girlyfriend next door?

A grim look crosses Justin's face, as Taggins smiles wickedly and Spencer turns and walks out the door, Taggins following.

CUT TO; CADE and about three other security personnel are gathering discs and surveillance equipment from the Prodigy's van. They work around Dina's body. A security personnel's radio crackles in the distance, and he approaches Cade, who is obviously the team leader.

SECURITY PERSONNEL  
Cade, I just received a radio from The Mansion, apparently two people were apprehended there earlier tonight. They want us to check the perimeters.

CADE (to other security peeps)  
You guys check it out. I'll finish up here.

The security guy looks reluctant to leave, but goes anyway. Cade checks to see that they have gone, and then rushes over to Dina's side. He takes her pulse, and then lifts her gently into the front of the van. We see her move slightly - she is still alive. Cade climbs into the front seat, and starts the ignition.

CADE (to an unconscious Dina)  
Let's get you out of here.

He starts the van and drives away. 

CUT TO; WIDE on a house by the river. Inside, Luke tries to reach Justin on the cell phone. He is getting frustrated, his hair is messy, and he looks extremely tired.

MESSAGE FROM PHONE SERVICE  
The cell phone you are trying to reach is either not operational or in a 'no-service' area. Please try again later. 

Luke slams the phone down and runs his fingers through his hair. He seems on the verge of crying. He stands up and walks into the kitchen, filling a bowl with water, and putting a dish-cloth in it. He walks into a bedroom, where Trinity lies on a bed, breathing fast and heavy and covered in sweat. Luke goes over beside the bed, placing the bowl on the bedside table and wringing the cloth out. He dabs it lightly on her forehead.

LUKE  
C'mon Trini, wake-up.

At that moment, Trinity's eyes open wide. Dark red streaks pollute her eyes, and they seem strangely glazed. Her voice barks out, unnatural.

TRINITY  
You should have saved them Luke. But you just left them there. To die.

LUKE (in his defence)  
I had to... I had to save you...

TRINITY (giggling menacingly)  
Don't try and lie to yourself, Luke. You're weak, it's okay. You were afraid. You've never been the hero.

LUKE  
Trinity why are you saying these things?

TRINITY (distant, with a strange smile)  
I'm not saying them Luke, you are. You're soul is saying them to mine. I can tell what you're feeling.

LUKE  
Trinity listen to me, there is something wrong with your empathic abilities. I think they are making you sick. I'm going to help you.

TRINITY  
Hah, help me?! You can't help me Luke, you're a killer.

A strange look passes over Luke's eyes. And he recoils.

LUKE  
How did you...?

TRINITY  
You did this to me Luke. Your hate. You're a murderer. You can't help me.

Luke swallows hard, and tries to blink away tears.

LUKE  
Who _can_ help you Trinity?

TRINITY  
You killed the only man who could... (her eyes roll to the back of her head)

LUKE  
Trinity?

TRINITY (in a hoarse whisper, before falling into a deep sleep once again)  
Centre...

Luke looks thoughtful.

CUT TO; Another dimly-lit room in Spencer's mansion. Mercedes is held in the same style as Justin. Spencer and Taggins, plus several other security people are in the room. Taggins had been questioning Mercie.

MERCEDES  
I'll never tell you anything.

TAGGINS  
Your friends already told us everything, so you might as well make this a little easier for all of us.

MERCEDES  
Justin would have never told you anything.

We see Mercie's hands, cuffed behind the chair. She is working a hairclip into the lock, trying to unpick it.

TAGGINS  
Justin? Well, does this Justin have a last name? Do you have a last name?

Mercedes looks determinedly at him, not giving in.

MERCEDES  
Like I said, you'll never get me to talk.

TAGGINS (menacingly, as he moves his face only inches from Mercies)  
Oh there are plenty of ways we can make you talk sweetie...

Mercedes undoes the handcuff's lock, and attacks Taggins, scratching him down the face with her fingernails. He is left with large claw marks on his skin. They scuffle on the floor for several minutes, the other guards rush over to assist, and succeed in holding Mercie back. They flip her over onto her back, placing her hands behind her back and re-cuffing her. As they do so, they see the tattoo on her lower back. Taggins stands up, blood seeping from his face wound and smiles.

TAGGINS  
Now let's see if we can't find out who you are. With a mark as identifiable as that... well... (he smirks at Mercie)

Mercedes seems worried.

CUT TO; A hospital emergency room. The doors burst open and Cade rushes in, Dina in his arms. A nurse comes over to him with a stretcher. And doctors and more nurses follow.

CADE  
She has multiple bullet wounds to the chest and torso area.

NURSE  
What's her name?

CADE  
Unidentified.

NURSE  
Your name?

Cade pulls a badge and ID card from his wallet.

CADE  
Special Agent Rowan Cade, FBI.

Dina is wheeled away, Cade watches on, concerned. 

NURSE  
Are you injured? (she motions toward the blood stains on his shirt and arms)

CADE  
No, no.. it hers. Is there a phone around here? I need to get in touch with my superiors...

NURSE  
Down the hall...

CADE  
Thanks

Cade rushes off down the hall towards the phone.

CUT TO; Miss Monroe fills a cup with cold water from the water cooler in the hall outside her office. Mr Fallen approaches from behind, leans over her and takes a paper cup.

MISS MONROE  
(without turning around, still filling her cup)  
Mr Fallen, always a pleasure...

MR FALLEN  
Morning Miss Monroe... (noting the water in her hands as she turns around to face him) Hmm... a change from your usual coffee... Is the apocalypse approaching?

MISS MONROE  
Oh no, Fallen, much worse... (Smiling sweetly)

Fallen looks at her quizzically

MISS MONROE (reaching forward and grabbing his tie in her hands tightly)  
Me, with no sleep, in a bad mood, and without coffee!

She releases his tie, and then proceeds to straighten it.

MISS MONROE  
What do you want, Fallen?

FALLEN  
World peace...

Miss Monroe, who is still straightening his tie grips it tighter all of a sudden.

FALLEN  
Okay, okay, sheesh... (he backs away from her) My man on the inside says that The Captain's just been notified that subjects 05 and 06 have been apprehended just outside Seattle last night.

MISS MONROE  
(sculling her water)  
Fantastic. Does Calvin know?

FALLEN  
No

MISS MONROE  
Good. Keep it that way.

FALLEN  
Okay, why?

MISS MONROE  
I don't trust him.

FALLEN  
Ditto.

MISS MONROE  
Have you moved on this yet?

FALLEN  
I thought we could make our move on this together?

Monroe looks at Fallen suspiciously, and then nods her head.

MONROE  
Right then. We'll do this together... Hmm... The Captain and The Prodigies in the one spot at the one time, and I thought Christmas was last week...

She crushes the paper cup she was drinking from and throws it in the bin. Her and Fallen walk away.

MONROE  
Since when have you had a man on the inside of The Captain's operation?

FALLEN  
Since when have you drank water in the mornings?

CUT TO; The hall outside the two rooms where Justin and Mercie are being held in Spencer's mansion. Spencer and Taggins talk quietly.

SPENCER  
A mercenary?

TAGGINS  
Of sorts. But he's a good soldier, and a loyal friend. We did 'Nam together. If he says these kids are bad news, then they are. Ain't nobody know trouble like The Captain. It will be a neat exchange. The kids for the weapons.

SPENCER  
And what will he do with them?

TAGGINS  
What he sees fit. I think we should go with this sir, less high-profile. Less public if you know what I mean.

Spencer eyes Taggins for some time, and then nods his head.

SPENCER  
I'll trust your judgement on this one Taggins. Okay the exchange. 24 hours from now I will have 3 tonnes of all-american armoury, and I'll be rid of two second-rate spies.

* * *

CUT TO; Luke stands at the phone, he is ringing someone and we hear the dial tone. He leans in to look into Trinity's room, she is still sleeping. We hear someone pick up on the other end.

WOMAN'S VOICE  
Kelly's Carpet Cleaning, please leave your name and number and we'll be sure to get back to you.

LUKE  
Uno it's me. I need your help. Meet me at Oliver's Fine Wines on the corner of 88th and 33rd, Seattle. Eight O'clock tonight. Hurry.

The urgency is apparent in Luke's voice, and he hangs up the phone, head down. His shoulders slump, and we see a single tear roll down his cheek before straightening himself up, shaking off the emotions. He sighs.

CUT TO; Hospital room. Dina lies in a bed, bandages covering her wounds. The door to the room opens and Cade walks in, followed by a nurse.

NURSE  
I must insist you be brief, agent, wounds don't heal in a matter of hours.

CADE (as the nurse leaves)  
Thank-you

He walks over to the bed, and takes a seat beside it. Dina's eyes open, and she turns her head slightly to look at him.

CADE (gently)  
Hey

Dina moves her mouth, and yet no sounds comes out. Her eyes rest on the water jug on the bedside table. Cade notices this and pours her a drink, lifting the glass to her lips and after she had had a sip, replacing it on the table.

CADE (gently)  
My name is Rowan Cade, I'm an agent with the FBI. (he shows her his badge) I need to know what you were doing at Gregory Spencer's residence last night.

At the mention of FBI, Dina's eyes widen in fear. She does not answer Cade. Cade notices this reluctance to answer.

CADE  
It's okay, we're on the same side here, I just need to know what you know, and I need to know what happened to the others.

Dina seems surprised.

CADE  
I know there were others, it's okay. The communication and surveillance equipment we found in your van proves that. I need to know who and where they...

DINA  
(worriedly, softly, hoarsely)  
You didn't... The FBI didn't get them?

CADE  
No, but I am afraid that Spencer's men might have. (he sighs) Please, for your friends' sake... I'm sure Spencer won't be calling the police on them. He has a reputation for exacting his own kind of justice...

DINA  
(worriedly, softly, hoarsely)  
I can't tell you...

CADE  
Can you tell me your name?

Dina's reply comes in the form of turning her head away from Cade. She remains silent. Cade sighs. The door opens again and the nurse comes back in.

NURSE  
Agent Cade, please, she needs to rest now, and there are people here to see you.

Cade stands and walks over to the door as the nurse enters the room and checks on Dina's medical condition. Cade looks back, his eyes meeting with Dina's determined gaze, and then closes the door behind him.

CUT TO; The hall outside Dina's hospital room. A woman ~ mid thirties who we will know as AGENT MACDONALD, and an older, greying man who we will know as AGENT QUAIN walk towards Cade.

CADE (nodding toward the two agents)  
MacDonald, Quain. What's the news from HQ?

QUAIN  
I think we should go some place private (giving shifty, suspicious glances to passers-by)

Cade nods

CADE  
We're right

MacDonald drops a file in Cade's hands. He opens it up, and a photo of Dina, 3 years younger, plus a file of info is inside.

MACDONALD  
About three years ago she was picked up in Utah. No name, no known identity. Demonstrated remarkable ability at lock-picking and was a hard one to keep detained. It was claimed she had escaped from an asylum in Salt Lake City, but when representatives came to collect her...

CADE  
Lemme guess, she'd escaped?

QUAIN  
No, she'd been signed out by a young man claiming to be her brother. The department got their wires crossed and let her walk right out the door.

MACDONALD  
I checked all the asylums in Salt Lake City, and none had sent anyone to come and collect an escapee at that time.

CADE (suspicious now)  
Who was handling the case?

QUAIN  
Local law, Angela Dina.

CADE  
Than I suggest we get her on the phone...

MACDONALD  
We can't, she died two days after the incident.

CADE (suspicious)  
How?

MACDONALD  
Single motor vehicle accident...

CADE  
(thoughtful)  
I have a feeling there's a lot more to this that meets the eye.  
(breaking his thoughts and handing the file back to MacDonald)  
See what else you can dig up. Thanks.

MacDonald and Quain exit. Cade looks through the door at Dina.

CADE  
Who are you?

CUT TO; Late afternoon. Private airstrip in Seattle. It is small, run-down. We see a cab pull out at the front of it, and Luke gets out.

CUT TO; We see a plane take off from the small runway.

CUT TO; Sunset. Miss Monroe and Fallen are at the C16 helipad. She is on the cell phone, and seems angry, while Fallen looks on. A helicopter waits nearby.

**Text On Screen:   
Helipad  
Centre 16   
Salt Lake City, Utah**

MISS MONROE (threateningly)  
A commercial flight? God help you if you're joking... How can a jet blow a tyre? It's a _jet_ for Christ's sake. pause I don't care if you have to change the tyre yourself JC, just get me that jet. It's New Years Day, we will never get a flight out of this god-forsaken state on a public plane. pause I'll meet you at the airstrip. pause This is important, JC. Don't blow it..... pause No that wasn't a pun.

Miss Monroe flips her phone closed, a scowl spread across her face. She looks at Fallen, angry, and he recoils slightly. Roschelle comes into view, and Miss Monroe looks toward her.

MISS MONROE  
(sarcastically)  
Here to see us off?

ROSCHELLE  
Be careful...

FALLEN  
They're science projects, Doctor, not marines.

Roschelle smiles.

ROSCHELLE  
You, Mr Fallen, have never had the pleasure of meeting them personally.

Fallen looks quizzical.

ROSCHELLE  
They're smart, Fallen. Smarter than you, Miss Monroe or even Calvin realise. Smarter even they think themselves to be. But that's not what you should be afraid of. They are a family. A close family. Have you ever tried to come between a mother bear and her cubs? The most powerful weapon is their unity, and they will defeat you with it.

FALLEN  
Ooh, look at me, I'm trembling in my suit.

ROSCHELLE  
You will be soon enough.

Roschelle leaves, and Fallen is left looking slightly afraid.

CUT TO; A quaint wine shop in Seattle.

**Text On Screen:   
Oliver's Fine Wines  
Seattle, Washington**

An old man walks into the wine shop wearing a wet rain coat. A bell rings to signal his entrance.The Italian woman behind the counter smiles her welcome. The old man browses around the shelves. He picks up a bottle whose label reads;

'Heart of Utah' Aged 16 years

He takes it over to the counter and hands it to the cashier.

CASHIER WOMAN  
That's strange, I don't recall getting this in. (she looks up at the old man and smiles) I have never heard of a winery in Utah either.

The old man chuckles.

OLD MAN  
I've bought this brand for the last 23 years.

He hands over some money, she gives him a receipt. He smiles, nods and leaves the shop.

CUT TO; Outside the shop. It is raining, and cold, a contrast to the warmth of the shop. We see the old man's hands pulls a pocket knife from his coat. He cuts the wax seal from around the cork of the bottle, and a pulls a note from a recess from where the cork should be. He opens the note up, inside a map is drawn, and a key is taped to it. He continues to walk down the street, and we see him drop the bottle into a bin. After the bottle, a grey wig falls into the bin, and the camera tilts up to reveal UNO peeling off his make-up and pulling the raincoat hood over his head, and walking out into the rain.

FADE TO; Dina lies in her hospital bed, staring out the window at the rain. She rolls her head to the other side and checks the door. There seems to be no one around. She gently slides out of bed, pulling an IV cable from her arm. She winces in pain. It seems to be a great struggle to get out of bed. She finally makes it to the door, and opening it slowly, she sees an agent asleep at a chair next to the door. She sneaks through quietly, and takes off down the hall. She suddenly stops when she sees Cade walking quickly down the hall in the direction of her room. She ducks into a room labelled 'Linens'. Cade walks past the door. Dina exits soon after dressed as a surgeon. She walks quickly down the hall from where Cade has just come, wincing in pain. She runs down a flight of stairs.

CUT TO; Cade opens the door to Dina's room, and noticing she is not there, quickly darts out again and shakes the agent at the door awake. They both run about looking for her. Cade runs down the hall Dina went, and down the stairs, opening the fire exit and coming out into a loading bay. He looks around and all he sees is an ambulance driving away and the back of a cleaner emptying a bin. Cade runs over to the cleaner and turns them around roughly, apologising when he realises it is not Dina. He looks about hopelessly. As the ambulance drives away, we see Dina look into the side rear-view mirrors and smile. She is dressed as a paramedic.

CUT TO; Centre 16 underground car park. Roschelle heads toward her car, turning off her car alarm and locks. Suddenly, Luke appears close behind her, a gun pointed into her back. He smiles falsely, and attempts to disguise his gun.

ROSCHELLE  
Had a feeling I was being watched.

LUKE  
Welcome to my world.

He motions up to a DSA camera.

LUKE  
Keep smiling, don't look alarmed.

ROSCHELLE  
What is this, revenge?

QUICK FLASHBACKS

- Roschelle cuts Luke's back into the 'T' shape, he is in pain.  
- Luke hangs upside down from the metal bar as Roschelle looks on

LUKE  
This isn't about you or me... This is about Trinity

Roschelle turns around sharply. Luke doesn't flinch.

ROSCHELLE  
03. Let me guess, violent side-affects of her empathic visions? Fever? Nausea?

LUKE (nodding)  
Yeah. Strange purpley-red eyes... Psychological trauma...

ROSCHELLE  
The Tarquin Insanity.

LUKE (sarcastically)  
I had a feeling you'd know what was up with her...

ROSCHELLE  
She needs Mentor T13

LUKE  
(sarcastically) Been meaning to talk to you 'bout that. (harshly) Get in the car.

He motions for Roschelle to get into the car.

* * *

CUT TO; Mercedes' Vision. The ring-barked tree outside of Centre 16. The camera is skewed and in typical vision tint. Mercedes stands next to the tree, her hand resting lightly on it. Justin walks up behind her, placing his hand on her shoulder and turning her around to face him.

MERCEDES  
I was wondering when you were coming...

JUSTIN  
We have to get out of here...

MERCEDES  
Do you have a plan?

JUSTIN  
I might...

Suddenly Trinity appears behind Justin. She is screaming, but no sound comes from her mouth. Her hair is wild and her eyes blood-shot. Her body is covered in sweat. Mercedes stops talking to Justin and stares at Trinity in horror. Justin slowly turns around and stares at her too.

JUSTIN  
Trinity?

Both Justin and Mercie wake simultaneously from what seems a slumber, panting heavy. The guards look at them quizzically.

CUT TO; Trinity's room at the house at Seattle. Trinity lays in bed screaming. She seems asleep.

CUT TO; The front door to the house in Seattle. The handle shakes violently - someone is trying to get in. Suddenly, Uno bursts through the door and races into Trini's room. He puts his hand gently over her mouth and shakes her gently awake.

UNO  
03. It's me. Trinity. Trinity it's Uno.

Trinity's hand shoots up and grips Uno's wrist tightly. She opens her eyes, now a maze of purple-red and glazed whites. She stares into his eyes, gripping his wrist so tight it turns white. Uno's eyes slowly begin to change to the same colour, streaks of purple and red seemingly growing across the whites of his eyes. He draws a sharp breath. Suddenly, he begins to have a succession of visions.

A baby is lifted into the air by a doctor, seemingly just been born.  
Trinity is illuminated by the headlights of the Sweepers' van during the escape.  
Roschelle cuts the 'T' shape into Luke's back  
Young Justin mouths the words 'Help Me' to Miss Monroe  
The Prodigies gather around the ring-barked tree  
Emilia dies in 'Remembered Love'  
Luke fires the gun as in Trinity's repeated vision

Trinity lets go of Uno's wrist, and the colours drain out of his eyes and the visions subsist. He looks down on Trinity, who is now resting seemingly pleasantly. Uno seems exhausted. At that moment Dina bursts through the door. She is puffing and has blood spots over the surgical scrubs and paramedic jacket she wears. She collapses in the lounge room. Uno rushes over beside her.

UNO  
Dina?

DINA  
(strained, puffing, in pain)  
Uno, Spencer's men have J and Mercie...

UNO (confused)  
Spencer?

DINA  
I escaped from the Feds...

UNO  
We need to get you to a hospital...

DINA  
I'm fine...

UNO  
Where's Luke?

DINA (worried)  
He's not here?

Suddenly Trinity appears at the doorway to her room. Although she sounds lucid, her eyes reveal she is far from herself.

TRINITY  
Mercedes needs our help...

CUT TO; Centre Issue black sedans pull up out front of Spencer's mansion. Miss Monroe and Fallen climb out of one, followed by many Sweepers. The Sweepers storm the building, shooting any security guy they see.

CUT TO; In Mercedes' and Justin' holding areas, we see each unpicking their handcuffs. When they hear the gunfire, they begin to work faster.

CUT TO; Taggins and Spencer stand in the corridor near where Mercie and Justin are being held. They hear gunfire. Spencer looks toward Taggins. Taggins leaves to assess the situation.

CUT TO; Another hallway, a shootout between Spencer's men and the Sweepers is in progress. Taggins darts carefully around, before leaving. The gunfight continues.

CUT TO; Taggins returns to where Spencer waits.

SPENCER  
I want to know if we should go to higher ground...

TAGGINS  
That would be advisable Sir...

Spencer nods at two of his men before powering down the hallway, Taggins behind him. The security guys open the doors to where Justin and Mercedes are each being held. Mercie and Justin knock them out and take their weapons, running down the hallway in the opposite direction to Spencer and Taggins.

CUT TO; Mr Fallen, Miss Monroe and the three L&R Sweepers step over the bodies of several security personnel.

CUT TO; Roschelle sits in the car driver's seat, Luke sitting in the seat beside in the middle of the desert. They seem to be continuing a conversation. Luke has his gun focused on Roschelle.

LUKE  
So you destroyed it?

ROSCHELLE  
It was the only thing I could do... If Calvin had utilised T13 for his own purposes...

LUKE  
There has to be a way to save Trinity...

ROSCHELLE  
There might be... If we can get her to the lab, maybe I could run some tests, design a dose specifically for her symptoms...

LUKE  
She's not going back there...

ROSCHELLE  
It may be the only way to save her. Luke, you don't understand. We first realised the side effects of testing early into the project. I wasn't with the Centre then but I've read all the files. There were twenty subjects to begin with. During a simulation subject 18's symptoms increased to such a level that he went completely insane, uncontrollable. He killed subjects 16 and 20 with his bare hands, before suffering a neural seizure and falling into a coma.

LUKE  
There might not seem like any other way, but there has to be...

He motions to Roschelle to start the car.

LUKE  
Let's go...

ROSCHELLE  
Where to?

LUKE  
Just drive.

CUT TO; The hospital. Agents Cade, Quain and MacDonald are in the hall. Police and FBI are investigating around them.

CADE  
There's something odd about this case. Something more than just the Spencer investigation.

QUAIN  
This isn't another one of your strange hunches...

CADE  
Trust me on this one Quain.

MACDONALD  
So if you were a young woman with no identity, no known family and a score to settle, where would you go?

CADE  
I'm not certain, but I do have a pretty good idea.

Cade begins to walk down the hall. He turns back to Quain and Macdonald.

CADE  
You two coming?.... And we're gonna need back-up.

CUT TO; Justin and Mercedes dash through the mansion trying to escape. They avoid gunfire and Sweepers. Suddenly, they come face to face with Fallen, Monroe and the three L&R Sweepers. they have their weapons focused on J and Mercie, who in turn have their weapons focused on them.

FALLEN  
Drop your weapons!

JUSTIN  
No! You drop yours!

FALLEN  
Drop 'em!

JUSTIN  
After you pal!

MONROE (interjecting)  
What is this, a schoolyard?

She steps forward and points her gun in the centre of Justin forehead, the barrel touching his skin.

MONROE  
Let me put it simply. If you want to live, throw your guns on the floor. Now!

JUSTIN  
Glad to see you too, Miss Monroe

MONROE  
(wicked grin)  
Not as glad as I am to see you.

JUSTIN  
You wouldn't shoot...

MISS MONROE  
(clicking the safety on her gun and placing her finger on the trigger)  
Care to check that theory?

Justin nods at Mercie, who lays her gun slowly on the ground. He then throws his down to the ground as well. Miss Monroe smiles. The Sweepers move forward, and pushing Mercedes and Justin hard against the wall, handcuff them.

CUT TO; A small plane takes off from a runway. In the cockpit we see Roschelle and Luke.

CUT TO; Uno, Dina and Trinity are driving along a secluded road. Trinity is asleep in the back seat next to Dina, when suddenly, her eyes shoot open and she screams;

TRINITY (screaming)  
Stop! Stop here!

Dina looks at Uno quizzically, but Uno pulls over to the side of the road.

CUT TO; Interior of Spencer's mansion. It is quiet. Deserted. No more gunfire. Several strewn bodies lay about the place.

CUT TO; Exterior of Spencer's mansion. Equally as deserted as the inside. Suddenly, several FBI vehicles and police squad cars pullup. Agents and cops jump out of the cars and storm the place. They realise that there is nobody there.

CUT TO; The front of Spencer's mansion. Cade and Quain are talking. Police and Feds investigate around them.

QUAIN  
I dunno Cade. Seems pretty straight forward to me. Spencer was holding a couple of spies he caught, they escaped, shot the place up and he fled.

CADE (motioning toward the glass on the floor)  
Look at this Quain. The glass has been shot and landed_ inside_ the house. That means that someone was trying to get _in_to the place, not out of it.

QUAIN  
Your girl from earlier today. Came to help her friends get out. 

CADE  
I'm telling you, it was someone else...

QUAIN  
Look Cade, we got eight dead guys in there and I know what I am putting in my report.

Quain walks off and Cade is left to contemplate.

CUT TO; The secluded roadway. Trees and dense brush line the road's edge. Centre-issue black sedans drive along the road. Inside the leading car we see Fallen in the front seat, Porter driving and Weston in the backseat next to Mercedes, who is handcuffed. Fallen turns and smiles at Mercedes evilly. Mercedes seems scared.

In another of the cars we see Miss Monroe in the front seat, Haley driving, and an unknown Sweeper in the back next to Justin, who is handcuffed.

JUSTIN  
(to Miss Monroe. He seems frantic)  
Do you know what you're doing? Don't you understand? If we go back there we die. Maybe not today or tomorrow or next week, but we will die. You're killing us.

Miss Monroe doesn't turn around, but we see her close her eyes and swallow. When she opens them again she sees the car in front (Falllen's car) slow down, as there is a large fallen tree on the road.

MONROE  
What the...?

Justin looks out the window at the tree. He suddenly has a vision.

He sees Trinity standing in front of the ring-barked tree out the front of C-16. He is far away from her. The camera RUSHES TOWARD her. Her eyes are closed. She suddenly opens them, her eyes still revealing the extent of her illness.

TRINITY (whispering)  
We're coming...

Justin opens his eyes. The car he is in has come to a complete halt. In front of them, Fallen has stepped out of the car, as has Porter. Suddenly, Fallen is rushed at by Uno from the trees. Uno wrestles Fallen and takes his gun, shooting it up into the air. He takes Fallen hostage, holding the gun underneath his chin. Miss Monroe steps out of the car.

UNO  
Let Justin and Mercedes go, or they'll have to scrape his brains off the asphalt.

MONROE  
Go ahead. You'd probably be doing me a favour.

UNO (strangely calm)  
You think I'm joking, don't you? You think that because I'm one of the good guys I won't kill anyone. Well think again. Now, let them go, I don't want to have to repeat myself...

Trinity and Dina walk out from the trees, Dina limping and Trinity's eyes a mixture of purple and red. Trinity walks up to Porter.

TRINITY (unnatural voice)  
Give me your weapon.

Porter looks toward Fallen for direction.

FALLEN  
Do what she says

Porter gives Trinity his gun. Trinity takes it and walks over to Miss Monroe. Miss Monroe steps back, but Trinity walks straight past her. She points the gun into the window, focusing it on the Sweeper in the back. He opens the door and steps out, dropping his weapon on the ground in front of her. Trinity continues pointing her gun at him.

TRINITY  
Lay down on the ground, hands on your head.

The Sweeper follows her directions. We see Miss Monroe move her hand down under her coat, undoing the button that holds her gun in it's holster. Justin climbs out of the car, and Trinity searches the Sweeper for the keys to his handcuffs. Once she finds them, she unlocks them. Justin rubs his wrists, and looking at Trinity's eyes, seems concerned.

JUSTIN  
Are you okay?

TRINITY  
No.

During this time, Dina had done the same thing to the other car, and has released Mercie. They begin to move away, Uno backing up slowly, still holding Fallen. The Prodigies focus their weapons on their enemies. As Uno reaches the fallen tree, he lets go of Fallen, but still had his gun focused on him. At the same time, Trinity moves past Miss Monroe, who grabs her and points her gun in the middle of her back.

MISS MONROE  
Nobody move!

Suddenly, Trinity has a succession of visions and begins to convulse and scream.

Miss Monroe holds her sapphire bracelet  
Miss Monroe's mother kisses her goodnight in her father's office  
Miss Monroe leaves her father's office disappointed  
Luke fires the gun and a man in a tuxedo falls to the ground

Panicked, Luke shoots Fallen in the shoulder, and Weston pulls a small gun from his sock and returns fire. The Prodigies run down the road, jumping over the fallen tree. Fallen is on the ground, blood coming from his wound. The sweepers give chase to the subjects. Trinity lies curled in the middle of road, crying, screaming and shaking. Mercedes, Justin, Dina and Uno reach a bend in the road, where their car has been parked in wait. They jump in.

MERCEDES  
What about Trinity?

UNO  
We have to go...

MERCEDES  
We have to go back for her.. (she goes to open the car door)

JUSTIN (pulling her back)  
We'll get her back Mercie, but not now.

The Sweepers and Monroe round the corner just in time to see the car speed away. Back down the road, Fallen sits up, clutching his shoulder, and Trinity lays unconscious. Miss Monroe's face looks grim.

**Text On Screen:   
To be continued...**

And the screen fades to black.


	10. 110 Mentor T13 Part Two

**FILE TEN – Mentor T13 Prt 2  
(Written By Vokal)**

WIDE on Centre 16 

**Text On Screen:   
Centre 16  
Salt Lake City, Utah **

MISS MONROE (offscreen)  
What do you mean 'missing'!?! 

CUT TO; JC and Miss Monroe talk in her office. JC seems nervous. 

JC  
I don't believe the word has any other connotations... 

MISS MONROE  
JC, I had the best day yesterday, Fallen got shot and is out of action for at least a week, I reclaimed one of our rogue subjects... And to top it off, Johannesson is on vacation! Don't spoil it on me... 

JC  
Would you rather I didn't tell you? 

MISS MONROE (sighing)  
So what's your theory my mentally devastated sidekick? 

JC  
Well it's gotta be the subjects... I mean, it's not in Roschelle to just take off like that... without telling anybody. 

MISS MONROE (thinking)  
I never thought I would have to say this, but I think you're right JC 

JC sort of smiles triumphantly. 

MISS MONROE  
Don't get too cocky cos I'm gonna expect it of you all the time now. 

JC  
Well... I'll try not to make a habit of it... What makes you agree with me? 

MISS MONROE  
There was one of them missing... 

JC looks blank 

MISS MONROE  
You know, the little blondie computer geek (looking at JC's indignant expression) No offence. 

JC  
Why would I be offended. I am a computer expert not a geek. 

MISS MONROE  
Whatever you reckon 

Miss Monroe places a pen in her mouth and starts chewing it, characteristic of her thought process. 

MISS MONROE  
I didn't think anything of it at the time, but... I thought he was the empath's boyfriend? Why wouldn't they be together, especially while she's in the condition that she's in... 

JC  
What do you mean? 

Miss Monroe looks up at JC from where she sits. 

CUT TO; A very creepy looking corridor. We hear Trinity's screams echo down the hall. A single doctor walks down it. 

**Text On Screen:   
Sub Level 13  
Centre 16  
Salt Lake City, Utah **

CUT TO; The interior of a small padded cell. Trinity lies in the centre of it, strapped to a bed, her hands and feet restrained several times over. (Well, she is a genius. She is writhing about, screaming. Her eyes are now completely coloured, large red and purple streaks. 

TRINITY (screaming)  
Killer! He's a killer! Murderer! (calling out desperately) Luke! Luke where are you! (beginning to sob) Luke! Luke I need you! 

The doctor comes over to her with a needle 

TRINITY (looking at the needle and screaming)  
No! No I don't want it! I'll be quiet! I promise I'll be quiet! Please! Don't! 

The doctor injects the needle 

TRINITY   
(growing quieter with each word until eventually falling asleep)  
He needs me! He needs me back there or... Don't let him do it... He's going to... For me... Stop... I... 

Her eyes close 

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

CUT TO; The apartment in Seattle. Luke, Uno, Dina, Justin and Mercie sit in lounge chairs around Roschelle, who is tied to a chair in the middle of the lounge room. Mercie chews gum menacingly. 

MERCIE  
I say we kill her. 

Justin gives her a disapproving look. 

MERCIE (innocently)  
I am just offering suggestions. 

LUKE  
She's the only one who can help Trinity. 

JUSTIN  
Luke, Trinity isn't here... 

Luke's face tightens, and he stands and knocks a vase off a table, small glass fragments shattering to the ground. 

LUKE  
(yelling, angry, sad)  
Well why don't we go and get her? We've broken out before, so what's stopping us breaking in? 

JUSTIN  
Luke we know how you feel but... 

LUKE  
(tears staining his cheeks)  
I don't think you do, J. I don't think you ever have... 

Luke storms out of the apartment. Justin turns his attention back to Roschelle. 

JUSTIN  
If we let you go, can you guarantee that you can help Trini? 

ROSCHELLE  
I can try. 

Suddenly, Dina pipes up. 

DINA  
Wait, I have an idea? 

CUT TO; Miss Monroe's office, she is on the phone. 

MISS MONROE  
(into phone)  
A trade? You're kidding aren't you? Why, I oughtta haul your ass right in here... 

JUSTIN (on the other end of the phone)  
If you do that, you'll never see Roschelle again. 

MISS MONROE  
I'm not exactly weeping in her absence am I? 

JUSTIN (his voice slightly pleading)  
Monroe... 

MISS MONROE  
I... (exasperated) Ring me with the details... 

CUT TO; Agent Cade sits at his desk in his office. He seems troubled, and is reading Dina's file. Suddenly, Agent MacDonald walks in. 

MACDONALD  
Cade, you should get some rest. 

CADE  
What would make her do it? I mean, she had over 60 stitches and bullet wounds it would take one of us at least 3 months to recover from... And yet she just up and leaves the hospital. What was she so afraid of? 

MACDONALD  
I think it was more a matter of revenge and rescue. 

CADE  
You know that she didn't help her associates escape that night. There was someone else there... 

MACDONALD  
It's not important what I think. What is important is what the suits upstairs think, and they say that her and two other unidentifieds blasted their way out of Spencer's, killing 8 security guys on the way. 

CADE  
Completely unfounded. 

MACDONALD  
Nevertheless, Spencer has friends in powerful, persuasive places, and they want vengeance. 

CADE  
What are you saying? 

MACDONALD  
What I am saying is that your mystery girl is now a fugitive, wanted in relation to the deaths of 8 people... (she drops a file on his desk) And we're on the case... 

Cade looks up at MacDonald from where he sits, a grim look on his face. 

CUT TO; Centre 16. Calvin's Office. Miss Monroe reclines in the chair opposite his desk, her feet up on his desk. 

CALVIN  
You know I can't authorize this. 

MONROE  
It's for Roschelle's life. He'll kill her, I know he will. 

CALVIN  
Roschelle is dispensable, the subject, on the other hand, is not. 

MONROE  
Calvin, you know I didn't come here for permission. I'm telling you what's going on. End of story. 

Monroe gets up to leave. Calvin seems to ponder something, then interjects. 

CALVIN  
I know why you came her, Miss Monroe. 

Monroe turns back and looks at him curiously. 

MONROE  
To let you in on the operation... 

CALVIN  
No... to centre 16, I mean. I heard all the stories you told everyone else, JC and Roschelle. Finish your father's work, hah. 

Miss Monroe raises an eyebrow characteristically. 

CALVIN  
You came here to make sure that those subjects were never caught. You resented the project for taking your father away from you for all those years. You want project prodigy to fail. 

MISS MONROE  
(defensively)  
I am not sure where you get your information, Calvin, but I assure you... 

CALVIN  
(sounding very insincere)  
No need to be afraid, Miss Monroe, I would never turn you in... I think of you as a .... valued employee .... I watched you grow up, watched you suffer the pain of your father's rejection, watched your empathy for our prodigy subjects grow and grow... 

A strange realisation crosses Miss Monroe's face 

CALVIN  
Yes. You know this to be true. You may never have admitted your true intentions for returning to Centre 16 - not even to yourself. But I know. I also know that your compassion for these fugitives will be your undoing. Fallen is a smart young man. He will pull the thread of survival you have been clinging to right out from under your feet. 

MISS MONROE  
(with false bravado and an insincere smile)  
I am making the exchange, Calvin. While your thinly veiled threats aren't going unheeded, I have to help Roschelle. 

CALVIN  
(very matter-of-fact)  
They killed your father. 

Miss Monroe raises another thin eyebrow, and stammers in her usually cool response. 

MISS MONROE  
(whisper)  
What? 

CALVIN (victorious smile)  
Your little prodigy friend, what is it that you call him, ah, yes, Justin - he didn't tell you that, did he? 

Miss Monroe swallows hard. 

CALVIN  
They took your father away from you when you were a little girl, all that time spent at the labs, spent watching over his precious subjects, and then they killed him. They took your father away from you forever. 

MONROE  
Calvin, if what you say is true, it only serves to increase my conviction that Justin will kill Roschelle. And while you seem to possess no human feelings, I care what happens to her, and I am going to get her back. 

Miss Monroe storms out of the door. Calvin's smile fades quickly, and he sighs, leaning against his desk. He leans over and presses a button on his phone. 

CALVIN  
(into speaker)  
Diedre, get me Meelar on line one. 

DIEDRE  
Yes sir. 

(phone sounds) 

MEELAR (on phone in an unfriendly manner)  
What is it? 

CALVIN  
I need a team put together for a retrieval - fast. 

MEELAR  
I'll be right on it. (phone hangs up) 

Calvin sighs again and characteristically strokes his chin in thought. 

CUT TO; The Centre Infirmary 

Text On Screen:   
Infirmary  
Centre 16  
Salt Lake City, Utah 

Fallen lies in bed, a dressing covering his shoulder. He is shirtless, and is reading a gun magazine. We hear noises, like squeaking metal. Fallen looks up from his magazine and sees a stretcher rolled past with a person on it. As it moves past we see Trinity turn and look in through his door, her eyes still possessing large purple and red streaks. Her hair is damp and her skin white and misted with sweat. Fallen raises an eyebrow in curiosity. He stands, wincing as he moves his should and walks out of his door just in time to see the stretcher rolled into another room. He follows. In the tiny room, Trinity is lifted from the stretcher onto a bed. She does not kick or scream or fight. Four large orderlies wait in the corners of the room in case she does. The nurse, a large, motherly-type woman, straps her down into the bed, and then turns and sees Mr Fallen in the doorway. 

FALLEN  
I thought she was being kept in prodigy corridor? 

The nurse has a serious look on her face, and ushers Fallen out of the room. The orderlies follow, but continue down the corridor until they are out of sight. The nurse pulls Fallen aside and looks at him concernedly. 

NURSE  
You weren't supposed to be out and about yet. 

Fallen looks passed the nurse and into Trinity's room. He seems... worried? Concerned? Traits not normally identifiable with Fallen's character. The nurse, obviously realising Fallen's concern, feels she should explain. 

NURSE  
The young woman is dying, sir... 

FALLEN (swallowing hard)  
Dying? 

NURSE  
There's nothing else we can do. Her systems are just... shutting down, like they were exhausted... like old age. 

We see Fallen walk past the nurse and into Trini's room, inter-cut with shots of a young boy walking into the very same room, but with an older woman lying in the bed. Fallen stands at the foot of the bed and reads the tag - 'S-03', running his hand along it. We see a fast clip of the little boy reading the tag on the foot of the woman's bed - 'Fallen, H' and running his hand along it. The nurse disturbs his thoughts. 

NURSE  
Don't be too long now, you need your rest as well... 

Fallen nods lightly and then sits on a chair beside Trinity's bed. He sighs. Trinity lies staring at the ceiling, her eyes unblinking. He reaches over to take her hand, and when he touches it, he experiences several 

- Trinity stands by the ring-barked tree, her current age. She is wearing the centre-issue pyjamas she is currently wearing, her hair is out, blowing in the breeze, and her eyes are closed. We see Fallen appear in front of her, facing her, he seems confused. Trinity opens her eyes and reveals their multi-coloured scars. She looks over Fallen's shoulder and his eyes follow the direction in which she is looking until he sees Luke standing behind him with a gun aimed at Fallen's head. He fires the gun. 

- Mercedes and Trinity run through the forest in "Black, White and the Many Shades of Grey", pursued by Sweepers 

- A newborn baby is held up in the air in an operating room 

- Trinity rolls over in bed in "Reunion" 

- Trinity escapes from centre 16 as a child, as in "Reunion" 

- The camera rushes toward the ring-barked tree where a bullet moves in SLO-MO toward Fallen's head, right in the centre of his eyes, we hear his panicked breathing. The sun sets and the stars and moon rise just as quickly. The bullet transforms into eight doves that fly away, Fallen watches them as they fly higher into the night sky. When he looks down again, he sees the older woman lying in the hospitable bed as previously. 

Fallen wakes with a start. He looks around the room, disorientated, then looks back at Trini, who is now sleeping. Fallen sighs, rubbing his face with one hand, withdrawing the other from Trinity's grasp quickly and cautiously. The Nurse walks back in, frowning disapprovingly at Fallen. 

NURSE  
We've got to move her now, poor dear's going for another ride... 

FALLEN  
What do you mean? 

Without explanation, Trinity is wheeled out on another stretcher, and Fallen is left standing alone in the tiny hospital room. 

CUT TO; A creepy looking warehouse parking lot. Justin, Luke, Uno and Roschelle sit in a car. They are all silent, watchful. Suddenly, another car pulls near, their headlights illuminating the parked car. We see Miss Monroe behind the wheel, JC in the front, Haley and an unconscious Trinity in the back. Justin blinks his lights in and off three times. Miss Monroe sighs. 

MISS MONROE  
What is it with these people and creepy warehouses 

A car door opens and Roschelle steps out, a car door opens from the other car and Haley steps out, pulling Trinity from the car with her. Haley lifts her up, trinity is unable to walk and is heavily sedated. Luke looks out from his car window concernedly before opening his door and stepping out. Haley walks toward the Prodigies' car and lays Trinty on the ground halfway between both cars. Luke moves forward and picks her up, cradling her in his arms. Monroe, JC, Justin and Uno face each other in a stand-off sort of way. Roschelle rejoins the C16 staff. Suddenly, a helicopter can be heard in the distance. The Prodigy subjects, as if acting from instinct, turn for their car. However, the helicopter is in view and begins shooting at the wheels, flattening the tires. The subjects take cover, separating into the tress and other warehouses. Luke runs, carrying Trinity in his arms. Justin sees Luke straggling and realises he won't be able to get away while carrying Trinity. 

JUSTIN (yelling to Luke over the roar of the helicopter)  
Put her don Luke! You'll never make it! 

LUKE  
I won't do it! I'm not leaving her again! 

Justin gets shot at and runs. The C16 staff have taken cover near their car. Justin turns and looks at Miss Monroe, betrayal in his eyes. Several Sweepers drop from the helicopter and scatter, searching for the subjects. Luke tries to get away but is slowed by Trinity. He becomes surrounded by Sweepers. 

SWEEPER ONE (Yelling over the roar of the helicopter)  
Put the girl on the ground and place your hands behind you head! 

Luke looks around frantically and realising he can't escape, places Trinity gently on the ground. She stirs slightly and Luke strokes her hair lovingly. He places his hands behind his head. 

SWEEPER ONE (Yelling over the roar of the helicopter)  
On your knees! Get on your knees! 

The helicopter lands and Calvin steps off, walking toward Monroe. We see Miss Monroe smile grimly. We also see Justin approach the back of the helicopter, moving along so he can't be seen and knocking out the pilot. Justin hops behind the controls and presses some buttons. 

Calvin and Monroe walk up to Luke, who is looking angry and defeated at the same time. Miss Monroe smiles like the cat that just ate the mouse and Calvin is also looking mightily pleased with himself. Luke spits at Calvin. Calvin goes to back-hand him when suddenly gunfire is heard - they are being shot at! The Sweepers drop to the ground, as do the C16 staff. Justin lifts the helicopter off the ground, flying low past where Luke is. Mercie drops a rope down and Luke grabs hold. Justin, Luke and Mercie fly into the rising morning sun as Luke stares sadly toward Trinity, whom he has left behind again. Miss Monroe stamps her feet and Calvin strokes his chin. 

CUT TO; The C16 infirmary. Roschelle injects something into Trinity's drip. Fallen looks on, his shoulder still bandaged. 

FALLEN  
So she's cured? 

ROSCHELLE  
I don't know. This is like a neutralizing agent that will attach itself to the damaged cells. It's more like treating the symptoms, not curing the actual ailment. I fear it will be a long time before that kind of technology is available. 

FALLEN  
Can it help the others? 

Roschelle looks at him strangely. 

FALLEN (Pulling himself into check)  
So that they can be useful to us, of course. 

ROSCHELLE  
No, this is symptom-specific. There is no possible way to tell what will happen to the others... or when... 

CUT TO; Agent Cade's office. Macdonald bursts in. 

MACDONALD  
We've got it! A lead on those mystery perps 

CADE  
What? 

MACDONALD  
A lead on those mystery perps, some apartment in downtown Seattle. 

Cade jumps to his, putting his jacket on as he leaves the office in a hurry. 

CUT TO; The apartment. Luke smashes objects of a bookcase, angry. Dina emerges from another room, bandages all over her. She looks ill. 

DINA  
Where's Uno? 

MERCIE  
He's not back yet, we got separated. 

JUSTIN  
He's not coming back... you know what he's like... 

DINA (swallowing hard, tears filling her eyes)  
Trinity? 

Justin shakes his head sadly Luke looks up, tears in his eyes, he runs his hand through his hair. He looks to Justin. Justin shakes his head again. 

LUKE  
There is one thing we can do... 

DINA  
What? 

Luke picks up the phone. 

LUKE (to Justin)  
Call her. (again, after Justin refuses to take the phone) Call her! 

CUT TO; Miss Monroe is looking through a two-way mirror in to the infirmary where Trinity is being kept when her cell phone rings. 

MONROE (answering the phone)  
What? 

JUSTIN  
Monore... 

MISS MONROE  
What do you want now. 

JUSTIN  
I want to make a trade. Luke for trinity. 

MONROE  
(with a laugh)  
You're kidding right? Why would I want to trade when I have a perfectly working subject right here? 

JUSTIN (sigh of relief)  
So she's alright? 

Luke snatches the phone fro Justin. 

LUKE (matter-of-fact)  
I killed your father. Meet us at the wharf tonight, 8:00pm. 

The phone hangs up, and Miss Monroe stares, dumbfounded. 

CUT TO; Sunset. FBI storms the apartment, it is abandoned. cade looks around the room, slightly happy that Dina was not found. Agent Quain approaches. 

QUAIN  
It's like they just vanished... like ghosts... 

Through the window we see Uno staring up from the street, a grim look on his face. 

CUT TO; The wharf. Miss Monroe sits in wait in a C16 issue black van. Trinity is in the back between Haley and Fallen. Rain spits down on the window shield. 

FALLEN  
Calvin will never agree to this. 

MONROE  
Nothing he do about it once it's done. 

Trinity tries to speak, but she is gagged and only a mumble escapes. Another car approaches. Haley opens the sliding van door and drags Trinity out. Both Miss Monroe and Fallen step out, the driver stays in the van. 

The other car pulls to a stop. The wind has picked up, driving the rain forcefully as it falls onto the ground. Luke, Justin, Dina and Mercedes get out of the car. The rain grows heavier. Trinity and Luke's eyes meet. She shakes her head at him, he turns away. justin looks at him sadly, his eyes misty. 

JUSTIN  
(teary, his voice breaking)  
You trying to be a hero, Luke...? 

Luke closes his eyes, shaking his head slightly. 

JUSTIN  
(as he hugs Luke)  
We are gonna get you out, you hear? We'll get you out... 

Luke steps forward slowly, walking toward the C16 staff. Miss Monroe glares at him. Fallen watches as Haley lets go of Trinity. Trinity walks toward Luke. In SLOW-MO she approaches him. Her hands and feet are cuffed, she is gagged. END SLOW-MO. The rain wets her hair, water mixing with tears on her weary face. Luke too is crying as he reaches for her, pulling her gag away. 

TRINITY (sobbing)  
Luke don't do this... 

LUKE  
I have to Trini, I killed, not you, I should be the one to be punished... 

TRINITY (whispered in desperation)  
Please, Luke, no-one has to be punished... 

She reaches up and kisses him in the pouring rain. Haley moves forward and cuffs him, undoing Trinity's. 

TRINITY (sobbing)  
No.. no.. 

Justin comes forward and takes Trinity by the shoulder, she brushes him off. Mercedes is crying and Dina mouths the words "We love you" as Luke turns his back on them and walks toward the van slowly. Trinity tries to go after him, but Justin puts his arms around her waist, holding her back. 

TRINITY (crying, almost screaming)  
Luke! No.. Luke... please.. don't take him... 

Haley puts Luke in the van followed by Fallen and Monroe, then closes the door as she hops in herself. The van begins to drive away. Luke looks out the back window at Trinity one last time. Justin pulls Trinity back as she screams and cries for Luke. The rain pours as the subjects watch their brother sacrifice himself. Inside the van, Miss Monroe looks across at Luke, who stares out the window, a single tear rolling down his cheek as he closes his eyes. Fallen seems grim. Trinity drops to her knees in the rain, sobbing at Justin's feet as the light from van fades as it drives away. 

THE END


	11. 111 Kill The Messenger

FILE 1.11 - Kill the Messenger  
(Story by Vokal, Screenplay by Jack: 14.2.02 – 23.02.02)  
(Edited by Vokal)

EXT: DILAPIDATED WAREHOUSE

Text on Screen: Blackpool, Indiana 

INT: DARKROOM 

A red light glows in the darkroom where two figures stand. They have an enlarger lamp turned on and it is by its white light that we see the figures are JUSTIN and MERCEDES

JUSTIN  
Is that right?

MERCEDES  
Just a second…

Mercedes adjusts a graduated dial on the side of the machine and we see the image come into focus. 

JUSTIN  
Can you grab the… you know…

MERCEDES  
On my way.

Mercedes exits the darkroom through a double-doored light trap and steps out into the converted warehouse, which has been closed into decent rooms and looks quite comfortable. It is obvious that the Prodigies have been here for some time.

Mercedes comes up behind TRINITY, who is sitting ramrod straight at a typewriter, typing at light speed. Mercedes seems impressed.

MERCIE  
How did you learn to type like that?

TRINITY  
(not breaking her rhythm)   
A speed-typing course I did awhile ago.

MERCIE  
Wow.

Trinity finishes the page, pulls the piece of paper out of the typewriter with a flourish, and hands it to Mercie

TRINITY  
Here you go.

MERCEDES  
Thanks… 

Trinity places another piece of paper into the typewriter and begins typing again.

MERCEDES (cont.)  
Trini… do you think this'll work?

TRINITY  
(pauses thoughtfully, then resumes. Her words are determined)  
It has to. It just has to.

MERCEDES  
(carefully, trying not to intrude)  
Trini, if… if you ever want to talk… you can.

TRINITY  
I know. Just… trying to keep busy, y'know?

MERCEDES  
(nods thoughtfully)  
I know.  
(looks at the paper)  
Thanks again.

TRINITY  
No problem.

Mercedes turns and goes back into the darkroom. We hear the door of the light-trap close behind her and Trinity stops typing, slumps over the typewriter, her face crumpled. A sob escapes, as we pull away… 

EXT: (WIDE) CENTRE 16, DAY

MISS MONROE (VO)  
Have you got anything out of psycho boy yet?

INT: LUKE'S CELL/SURVEILLANCE ROOM

_Text on Screen: Lab 7_

Sublevel 2, Prodigy Wing 

LUKE sits on a stool in the centre of a floodlit room. He sits rigidly, gripping the underside of the chair tightly. In the background we see a metal cot with restraining straps flung over the sides. Other than these two pieces of furniture, the room is bleak and bare. 

Luke stares at a large piece of reflective glass. He obviously knows he is under surveillance, and does nothing except rock back and forward slightly, still keeping his balance on the stool.

On the other side of the glass, CALVIN and ROSCHELLE sit at a desk, MISS MONROE stands behind them, having just walked in.

ROSCHELLE  
Nothing as yet.

CALVIN  
(staring straight ahead, almost to himself)  
In POW simulations, 07 resisted weeks of psychological torture before giving even the barest threads of intel.  
(rouses himself from this state, turns around to face Miss Monroe with an ironic smirk on his face.)  
I don't think we'll be getting anything out of him anytime soon.

Miss Monroe paces in the background.

MISS MONROE  
We have to find out where the others are. And what they're up to.

Miss Monroe steps out of the room, and pauses outside the door.

MISS MONROE (cont.)  
(sighing)  
Or something serious is going to hit the fan.

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

INT: MISS MONROE'S OFFICE

Miss Monroe leans back in her chair, flicking a pen against one of her hands, overlooking the desert outside. Rhoda's voice comes through the intercom.

RHODA  
Miss Monroe, Mr. Johanesson called, he'd like to see you in his office.

Miss Monroe turns spins around in her chair, an annoyed look on her face. She depresses a button on the intercom.

MISS MONROE  
Tell him I'll be up in a minute.

RHODA  
(pause)  
He specifically requested you go immediately, Ma'am.

MISS MONROE  
(fed up)  
Then tell him I'll be up immediately, Rhoda.

RHODA  
Yes, Miss Monroe.

Miss Monroe stands up gracefully and walks towards the doors of her office, straightening her suit as she goes. She pulls open the double doors, and walks out.

INT: PRODIGY WAREHOUSE – TRINITY'S OFFICE – DAY

Trinity murmurs to herself as she types at her amazing pace.

TRINITY  
Mentor T13… destroyed… No other… cure… for 'Tar-quin Insanity'… available… at this time… 

Justin enters.

JUSTIN  
Trini, have you finished the article yet? I need to have it in before midday for proofreading. 

TRINITY

What if they change something? It'll throw the entire message out.

JUSTIN  
They can't change anything without my okay. I just won't okay it today.

TRINITY  
Fine.

She pulls the paper out of the typewriter and holds it up for Justin to read. He takes it and scans through it, reading out the hidden message contained within the article

JUSTIN  
"Attention: Centre 16 Prodigy Subjects, Mentor T13 has been destroyed. No other cure for the 'Tarquin Insanity' is available at this time…"  
(Justin looks at Trinity)  
What on earth does "Peace, out," mean?

TRINITY  
(shrugs)   
I saw it on TV. It has a nice ring to it…  
(anxiously)  
What about the cover article?

Justin looks at the article again.

JUSTIN  
"The Prodigal Son Returns", a study of runaway boys? It's fine. A nice play on words.

Mercedes enters the room from the darkroom, wiping her hands on a rag. Justin holds out the paper for her to read.

JUSTIN  
What do you think, Mercedes?

MERCEDES  
(scanning the article)  
This is great, Trini. Better than the one you did in Seattle…

JUSTIN  
Even better than the one for the New York Times.

TRINITY  
(sighing)  
Thanks. I just hope the others get the message.

JUSTIN  
I know they will. Come on, you two, can you ever read anything without checking every forth letter to see if it spells something out?

MERCEDES  
I've been doing it since I was ten.

Justin tucks Trinity's article into a leather portfolio, along with the photo seen earlier, two street boys leaning against an alley wall.

JUSTIN  
(slipping on a pair of rectangular shaped glasses)  
I better be going. See you both later.

Justin leaves, and Mercedes turns to Trinity.

MERCEDES  
Want to grab some early lunch?

TRINITY  
No, thanks.

MERCEDES  
(confused)  
Should I bring something back for you?

Trinity doesn't appear to hear the question, staring off into space. Then we see from Trinity's point of view. She hears Luke's voice in place of Mercedes'.

MERCEDES (cont.)/ LUKE  
Trinity… are you okay?

Again, Trinity doesn't appear to hear, her mouth opens slightly, she is too shocked to answer.

MERCEDES (cont.)/ LUKE  
TRINITY!

Trinity turns around (SLOW-MO) and sees that it's Mercedes behind her. For a moment she seems to look past Mercedes, searching for something. Mercedes turns around to see if there is anyone or anything behind her. Fed up with Trinity's dreamy state, she gives up.

MERCEDES  
I'll bring something back for you later.

Mercedes leaves the room. Trinity stands up, eyes clouded with tears. She runs through the warehouse to what we assume is her room, where she tears through a small suitcase to find a jewellery bag.

She pulls out a ring decorated with small silver flowers. The tiny diamonds at the flowers' centres sparkle. Trinity holds it gently in her palm, and looks down at it sadly. She has a FLASHBACK – File 1.08: Ho, Ho, Who? 

Trinity looks up at Luke, a smile spread across her face and tears almost welling in her eyes.

TRINITY  
It's beautiful...

LUKE  
They're 'forget-me-not' flowers, so that we'll always...

Trinity finishes his sentence

TRINITY  
...remember each other...

END FLASHBACK

Trinity grips the ring tightly in her hand, and kneeling where she is, starts crying. She leans over against the bed and slides down, ending up curled up on her side as she sobs noisily, her cries full of deep pain.

EXT: CENTRE 16 (WIDE) – DAY

MISS MONROE (VO)  
I'm happy to see you've had a nice vacation, Sir.

INT: JOHANESSON'S OFFICE

Johanesson sits behind his desk, hands clasped. Miss Monroe stands in front of his desk expectantly, but he doesn't offer her a chair. She remains standing. 

JOHANESSON  
I'm very disappointed, Miss Monroe.

MISS MONROE  
Disappointed about what, Sir?

JOHANESSON  
That you would do a deal with the Prodigy Subjects, and swap a valuable genetic empath for a chemically enhanced genius. We have plenty of geniuses around. The Empath, on the other hand, is a rare and priceless commodity which could have also helped us track down all the others.

MISS MONROE  
I did what I thought was right at the time, Sir. The Empath would have been more trouble than this one will be. He offered himself voluntarily in her place. I believe we'll have more information out of him in a shorter time span than relying on the fickle energies of an empath.

JOHANESSON  
And did you happen to discuss this plan, these thoughts, with anyone else?

MISS MONROE  
There was no time for that, Sir. It was an instant deal, one that had to occur immediately. 

JOHANESSON  
I see. So why haven't you told me about your suspicions that this subject killed your father?

MISS MONROE  
(taken by surprise)  
Excuse me, Sir?

JOHANESSON  
I am not stupid, Miss Monroe, and despite the fact my eyesight's going a bit; I can see what is happening under my own nose. It would be wise of you to remember that! Now, I asked you why you didn't tell me that you suspect that this subject killed your father; and I would like an answer if it's not too much trouble.

MISS MONROE  
Well, Sir, that never really came into the picture, it was more the fact that it was a quick, hurried event that seemed to benefit us in the long run that was my main motivation in accepting the deal.

JOHANESSON  
(suspicious)  
I'm sure. Consider this a warning, Miss Monroe. If I hear of any more deals cut with the subjects, something else will be cut too. You. You'll be cut loose. Need I remind you that being cut loose is not a good thing? That it simply doesn't bode well for future opportunities?

MISS MONROE  
No, Sir, I understand.

JOHANESSON  
See that you continue to understand.

MISS MONROE  
Of course, Sir.

Miss Monroe turns to leave.

JOHANESSON  
By the way, Miss Monroe?

Miss Monroe turns back to face Johanesson, but he has swung around in his chair so he looks out over the desert. The shot is reversed so we see his face, Miss Monroe standing in the background.

JOHANESSON (cont.)  
I'd suggest you confer with your Co-director before making any other big career moves. A trouble shared is a trouble halved.

Miss Monroe leaves the room. We follow her outside the door and as she walks away, the camera pans around to where Calvin stands next to the door, stroking his chin.

INT: PRODIGY WAREHOUSE (Entry area) – AFTERNOON

Justin comes in the door carrying his leather portfolio, looking satisfied.

JUSTIN  
(calling loudly)  
Mercedes? Trini?   
(pause, and after no one answers)  
Anyone here?

Justin walks down the hallway and starts ducking his head inside rooms, looking for the girls.

JUSTIN (cont.)  
(calling loudly)  
Mercedes? Trini?

Justin comes upon the room where Trinity now lies on her bed, facing the wall. Her back is towards Justin and she doesn't move in response to Justin's call.

JUSTIN (cont.)  
(softly, concerned)  
Trinity, are you okay?

We see a reverse shot of Trinity, wide awake, a CLOSE UP of her red, tear-stained eyes with Justin's distance closing in the background. 

JUSTIN (cont.)  
(questioning)  
Trini?

Trinity still doesn't move, and Justin sits down on the edge of the bed. He touches her lightly on the shoulder, as if to wake her. He is surprised when she turns over and grabs his throat. 

They roll off the single bed, Trinity landing on top, hands still squeezing Justin's throat tightly. Justin struggles and manages to reverse the situation; he now sits on top of Trinity, pinning her hands to the floor. Trinity begins to cry again.

JUSTIN  
What's wrong, Trinity?

TRINITY  
(screaming, distraught, hysterical)  
LUKE!! You let him go, you let him go, you let him go! You let them take him! What would they be doing to him now, Justin? I feel him! He's  alone and he's afraid but he still thinks he did the right thing and he didn't! You didn't! Why did you let him go?

JUSTIN  
We couldn't let them keep you, Trinity! It put us all at risk! At anytime they could've shot you up and before you knew it you'd be telling them anything and everything they wanted to know!

TRINITY  
I'm a risk? I'm such a risk in their hands that when your friend, your brother, says he'll go and take my place, you let him go? Why don't we all just carry cyanide pills? Make things a hell of a lot easier!

JUSTIN  
Trinity, your gift – your talent, your what-ever-you-want-to-call-it, is so dangerous in the wrong hands! In the hands of Centre 16… we'd all be back inside within days. Weeks…

TRINITY  
Months, maybe. Years? C'mon, Justin, I would have never said anything. Or maybe we'll all just end up back there anyway.

JUSTIN  
Don't speak like that. We're never going back there. Never!

TRINITY  
Luke did. He said he'd rather die before he went back there, and then he went back there voluntarily. What does that tell you?

JUSTIN  
It seems to be telling me a lot more than it's telling you. 

TRINITY  
(flushed, spitting out the words)  
Spell it out.

JUSTIN  
Luke said he'd rather die before going back there. But he went back there, Trinity, for you. And if he'd go back there for you, doesn't that tell you something of what he felt for you? 

TRINITY  
How would you know? You don't care about anyone else! You sent your Dina away, a 'liability' just because she was injured, and I'm a liability just because I am what I am. 

(Trinity's voice scratches as she becomes more and more emotional)

TRINITY  
You let Luke leave. How would  you know what love is about?

JUSTIN  
(fiercely, pain obvious on his face)  
Because when everything inside you longs for it…   
(softer)  
you have to know what it's about.

After a moment, Trinity's face dawns with understanding. She stops struggling, and Justin eases off. He sits up against the bed as she curls into a ball again, this time facing him. The scene is eerily silent for a moment after this large outburst. Trinity speaks first.

TRINITY  
I'm sorry… what I said…

JUSTIN  
It's okay… it doesn't matter.

TRINITY  
It's just… I miss him, Justin. I miss him…

INT: MISS MONROE'S OFFICE – AFTERNOON

Miss Monroe sits at her desk. She lifts her left wrist to check her watch. It reads

5:30. The watch also has a date square which reads 15 FEB. 

As she lowers her watch, Fallen enters the room without knocking, wearing a bright, overly obvious tie.

FALLEN  
Nice to see you, Monroe – 

MISS MONRO  
I doubt it.

FALLEN  
– Alive.

MISS MONROE  
Excuse me?

FALLEN  
I heard you had an appointment with Johanesson.

MISS MONROE  
(wonderingly, to herself)  
Remind me to tell Rhoda that my schedule is no one else's business.   
(back to business)  
And yes, I had a meeting with the old man upstairs. 

FALLEN  
And?

MISS MONROE  
He said that next time I should talk to you before I make such a big decision on my little young female own.

FALLEN  
(smiling broadly)  
That sounds like a good idea.

MISS MONROE  
I told him to forget it.

FALLEN  
(smile disappears)  
That doesn't.

MISS MONROE  
I told him that if he's going to cut me loose, well, it'd be doing me a huge favour. Nothing more I'd enjoy than being made redundant by this place. Who knows, I might even get that pension at last…

FALLEN  
(stepping closer)  
You are aware what being redundant around this place calls for, aren't you?

MISS MONROE  
Enlighten me.

FALLEN  
You don't get made redundant at The Centre, Monroe, you get made dead. Very dead.

MISS MONROE  
(nodding her head as if deeply comprehending)  
Oh…   
(calls)  
JC!

JC steps out from behind an oriental screen, holding a mini-cassette recorder.

MISS MONROE (cont.)  
Play that back for us, would you?

JC rewinds the tape, and presses play as he sets it down on Miss Monroe's side of the desk

FALLEN [on tape]  
You are aware what being redundant around this place calls for, aren't you?

MISS MONROE [on tape]  
Enlighten me.

FALLEN [on tape]  
You don't get made redundant at The Centre, Monroe, you get made dead. Very dead.

Fallen reaches for the recorder, but Miss Monroe picks it up first, a satisfied look on her face.

MISS MONROE  
Certainly sounds like a threat, Fallen.

FALLEN  
(confused)  
What? Why – What on earth is going on here?

MISS MONROE  
This is all about insurance, Fallen. My insurance. It's the classic thing: if I die suddenly, this is given to the police, along with everyone and everything in this place on a platter.

FALLEN  
(laughing)  
And who's going to do that? Kind old Mrs. Rosie next door? No chance of it being JC here, mmm? Can you imagine it?   
(Fallen imitates a security guard, hands on hips and gruff voice)  
"Why are you going out today, Mr. JC?"  
(Fallen switches into an overly feminine version of JC, with a high pitched voice)  
"Oh, just going to deliver Miss Monroe's life insurance policy to the police! Nothing really!"  
(Goes back to himself.)  
So, Monroe, who would be dumb enough to try it?

MISS MONROE  
That's something I have to think about. In the mean time, Fallen, I suggest you get some of your own.

FALLEN  
Some… one dumb enough to try it?

MISS MONROE  
Some insurance.

INT: PRODIGY WAREHOUSE – LOUNGE ROOM – AFTERNOON

Justin and Mercedes sit on a couch side-by-side, an open pizza box on the coffee table in front of them. Only a few pieces are gone, it is obvious Justin has lost his appetite, while Mercedes chews away complacently.

JUSTIN  
(breaking the silence)  
I forgot to tell you. When I went to the newspaper office I – 

MERCEDES  
(with pizza still in her mouth)  
Let me guess.   
(she swallows)  
You found a new quest.

JUSTIN  
Kind of. The office was a complete madhouse because one of their top reporters was killed a few days ago. 

MERCEDES  
Why haven't we heard about it?

JUSTIN  
The Chief of Police took it upon himself to declare it a suicide. The suicide of a top reporter doesn't seem to raise as much attention as the murder of a top reporter… especially if said reporter was investigating the Chief of Police himself.

MERCEDES  
What makes you say that?

JUSTIN  
When no one else was around I took a quick look at her desk files. She hasn't filed any stories for the last two and a half weeks which is pretty uncommon unless she was working on a big story. And it just so happened that she had a few notes in code. And being the unrecognised genius you know me to be…

MERCEDES  
(grudgingly admiring)  
You deciphered them on the spot.

JUSTIN  
Bingo.

MERCEDES  
And…

JUSTIN  
I want you to come down there with me tonight and help me break into her computer files.

MERCEDES  
Sure, I have nothing better to do on a Friday night.  
(lowering her voice)  
Now come on, tell me what's going on.

JUSTIN  
What?

MERCEDES  
Trinity. She hasn't come out all afternoon.

JUSTIN  
Well, uh, she's not feeling too good.

At that moment Trinity walks through the room dressed in baggy jeans, a man's long-sleeved shirt, thermal vest and boots too big for her feet. She heads straight for the door on the other side of the room, avoiding Justin and Mercedes' eyes.

TRINITY  
I need some time alone. Be back later.

She leaves the room and we hear the closing of the main door as she exits the building.

MERCEDES  
(puzzled)  
Aren't they – 

JUSTIN  
(nodding slowly)  
Yep, they are.

EXT: CENTRE 16 (WIDE) NIGHT

INT: LUKE'S CELL

Luke lies on his bed, kept in place by the buckled straps. His eyes are open, and a tear slides down the side of his head. The lights are dimmer than during the daytime, but still quite bright.

Miss Monroe opens the door to the adjoining observation room to find it empty. She heads for the door to Luke's cell and opens it by pressing numbers on a keypad.

She opens the door and steps in. Luke turns his head to see who it is and when he realises it is Miss Monroe, turns away.

MISS MONROE  
(coldly)  
I need to talk to you.

LUKE  
(keeps his face averted)  
About time someone did. I was starting to get the feeling you guys didn't like me so much after all.

MISS MONROE  
I certainly don't, that's for sure.

LUKE  
(turns his head to face her)  
So why are you here?

Miss Monroe pulls her gun, and points it unflinchingly at Luke's chest.

MISS MONROE  
I need to know what happened to my father.

LUKE  
Why are you asking me?

MISS MONROE  
Don't play your mind games with me, 07. I want to know, and by God, you're going to tell me.

LUKE  
Tell you what?

MISS MONROE  
Tell me why you killed my father. And how, how; for Christ's sake! And where, and everything. Everything… I want to know everything.

We CLOSE IN on Luke's face to see the look of confusion and worry on his face.

EXT: NEWSPAPER OFFICE – NIGHT

A large sign on the building can be read in the light from the street: 

"The Blackpool Post"

INT: NEWSROOM

Justin and Mercedes creep into the darkened newsroom. Mercedes sits down in front of the journalist's computer and boots it up. Justin stands guard, gun drawn, as Mercedes works.

MERCEDES  
This girl is paranoid. This is the third password tonight.

She types and obviously gets it, in the light from the computer screen, we see her smile.

MERCEDES  
Yes!

The smile disappears just as quickly.

MERCEDES  
No!

Mercedes starts typing rapidly, and after a moment looks up.

MERCEDES  
Justin, it's not here. Someone's cleared out her hard drive.

JUSTIN  
What?

Justin comes around to see the screen flashing:

JUSTIN  
What the hell is going on?

Just then, a tinkle of glass breaking. Mercedes turns off the computer and she and Justin run to take cover behind another desk.

Two men (who we find out are BRIAN and DYLAN) steal into the room as quietly as they can, unfortunately not as quiet as they think they are. They move over to the deceased journalist's desk and boot up her computer.

BRIAN, the short, stocky one sits down at the computer and types for a few minutes. The light from the screen clearly highlights his face, as well as his partners'

BRIAN  
Hey, Dylan.  
(beckons for his partner to come to the computer.)

DYLAN  
(coming over to look at the computer)  
What's it, Brian?

BRIAN  
All the data's gone. Someone's beaten us to it.

DYLAN   
Jesus! The Captain's gonna have our ass!

We see Justin and Mercedes mouth to each other, "The Captain?"

BRIAN  
Look, we should just go. I think I can hear one of those silent alarms

Mercedes gives Justin an incredulous look

DYLAN  
I don't want to go back to The Cap empty handed.

BRIAN  
Too bad, there's nothing to take. Told you we should have come last night.

Brian powers down the computer as they continue the argument.

BRIAN  
But noooo, you had to keep that date with Lisa.   
(tries to croon the name soulfully)  
Liiiisssaaa! Liiiisssaaa!

DYLAN  
You keep your mouth shut about Lisa. 

BRIAN  
The Cap'd have your ass if he knew you were with a girl. You know what he says…

DYLAN  
"Only the smart guys can get a girl."

BRIAN  
I don't remember it like that…

Brian and Dylan leave the room. Mercedes and Justin pop up from behind the desk.

MERCEDES  
The Captain? What stake would he have in this? 

JUSTIN  
The Captain. Damn it.  
(he pauses)  
Mercedes – her house!

MERCEDES  
What?

JUSTIN   
Destiny Moore's house. Surely she'd have back-ups there.

MERCEDES  
They're probably gone by now.

JUSTIN  
We could still give it a shot…

MERCEDES  
Okay, you're on.

EXT: CITY STREET – NIGHT 

Trinity walks down the street, her hair now tucked up into a cap. Hands shoved in pockets, eyebrows furrowed, she looks deep in thought. A voice calls from behind.

PUNK #1  
Hey, runt!

Trinity keeps walking.

PUNK #1  
Hey, runt! Wait up!

The punk and another two come up and push Trinity into a side alley, pinning her to a wall.

PUNK #2  
When AJ calls yo name, runt, you answer.

AJ (PUNK #1)  
And when AJ says he'd like all your cash, you hand it over.

Trinity passively resists, the cap still shielding her face.

PUNK #3  
Looks like we have to "relieve" this runt of his money, AJ.

TRINITY  
(softly)  
Her.

PUNK #2  
(pushing his face close to Trinity's)  
What, runt?

TRINITY  
(slightly louder, clearer)  
Her. 

Without warning, Trinity's hand comes up and strikes Punk #2 in the face with such force he is pushed clear across the alley, knocking his head on the opposite wall. The other two punks try to corner her.

PUNK #3  
Yo gonna pay for that, bitch.

He pulls back his head as if to headbutt her, while AJ tries to hold her still. At the last moment she ducks and Punk #2's head hits the wall. He too goes down without a sound. 

Trinity turns to AJ, who without his friends now seems a little less happy to fight as he tries to back away.

AJ  
Look, I'm sorry, girl, both those guys, they… they…

Trinity corners him in the back of the dead end alley. 

TRINITY  
Promise me a few things.

AJ  
(falls to the ground, cowering)  
Anything!

TRINITY  
Give those two dropkicks the flick. Get a haircut… and get a job.

AJ  
Sure, sure. I will.

TRINITY  
Good.  
(she takes a good look at him)  
Now put your head down and count to thirty. You look up before that and I'll know. And I'll come back and kick your ass. Understand?

AJ  
Yeah, yeah, I understand, I promise.

AJ does as he's told and Trinity takes off, running down the alley, leaping over the two motionless teenage boys near the entrance to it, and sprinting down the street, exhilarated.

EXT: BLACKPOOL PARK – EARLY MORNING

Trinity jumps awake and sighs; relieved it was a dream. She lifts a scratched, bloody hand to her face to rub her eyes, and looks at her hand in wonder when she realises that it wasn't. 

EXT: CENTRE 16 – MORNING

INT: LUKE'S CELL/SURVEILLANCE ROOM

Roschelle carries her jacket over her shoulder as she walks into the surveillance room. She hangs it over the back of the chair before looking up to see a smear of blood on the mirrored glass.

Roschelle walks around to the outer door of Luke's cell and looks in through the small observation window. He is laying in his bed, as normal. She keys in the code and enters, walking towards Luke's bed. She stops a few metres away. In the lower corner of the screen we see Luke's hand on top of a sheet, covered with scratches and blood.

ROSCHELLE  
(in a whisper)  
What happened?

LUKE (off screen)  
I think I must have fell out of bed.

INT: PRODIGY WAREHOUSE – JUSTIN'S BEDROOM – MORNING 

Justin sits on his bed, already dressed in jeans and T-shirt. He is intently studying the tiny portable computer in his lap and the many papers spread around.

Mercedes appears in the doorway in pyjamas. 

MERCEDES  
(sleepily)  
Did you sleep at all last night?

JUSTIN  
A bit. Mostly I just read this. And what a fascinating read it is too.

He passes the laptop to her as she sits down beside him on the neatly made bed. Her eyes widen.

MERCEDES  
Is this for real?

JUSTIN  
Unless you did something and decrypted the files wrong…

MERCEDES  
No way.

JUSTIN  
Then it's true. The Chief of Police, a certain Mr. Wallace Reed, has been drug smuggling from East to West and back again.

MERCEDES  
And this is a person elected by the people. Tsk, tsk.

JUSTIN  
Just goes to show that most people don't look beyond the great, safe obvious.

MERCEDES  
And they're probably safer that way, too.

JUSTIN  
Yeah… but since when has that stopped us?

MERCEDES  
I guess it hasn't. Yet.

JUSTIN  
It never will.

MERCEDES  
Right. Look, have you seen Trini this morning? She's not in her room, the kitchen or the bathroom. I thought she might be sleeping under your bed.

JUSTIN  
My bed? I doubt it.  
(Justin pauses, then leans over and checks under his bed.)  
Nope, no Trinity's under there.

MERCEDES  
Did you see her last night?

JUSTIN  
I was so tired I didn't even think about her… Look, she'll be back soon. She probably just spent the night out.

MERCEDES  
And that doesn't worry you?

JUSTIN  
(confidently)  
Not at all.

Trinity enters, tired, battered and bloody from her night out. Mercedes jumps up, concerned.

MERCEDES  
Trin, are you okay? What did you do to yourself?

TRINITY  
(blank and blunt)  
I took on three punks and came off best to them, second best to their knife. I slept out in the park and watched four planes fly over. And I felt Dina – 

Justin looks up, surprised.

TRINITY (cont.)  
She misses us, Justin.

Trinity walks away and shuts herself in the bathroom. Mercedes and Justin look worriedly at each other.

MERCEDES  
We have to do something to help her, Justin.

JUSTIN  
She misses Luke. I don't see  what we can do to help her. Maybe we just need to let her ride this out.

MERCEDES  
Whatever happens, I just hope it happens soon.

CUT TO: INT: BATHROOM

Trinity has already undressed and is in the shower. She wets her long dark hair and pushes it back from her face, begins to wash away the grime on her face. Face in her hands, her shoulders shake. She puts a hand out and leans against the shower wall, the sounds of her crying muffled by the running shower water.

INT: CENTRE 16 INFIRMARY

Text on Screen: Infirmary  
_ Level 2, Centre 16_

Luke lies in a white hospital bed. His face now washed, we clearly see the bruises on his face, his black eye and scratches on his cheek. He sleeps restlessly, hands flung in two different directions as Roschelle watches on and takes notes.

Miss Monroe pushes aside white curtains and enters.

MISS MONROE  
What on earth happened to him?

ROSCHELLE  
That's what we're trying to find out, he hasn't told us anything yet.

MISS MONROE  
We have to start somewhere… Who had the passcode to his cell?

ROSCHELLE  
You, me, Calvin, and about half a dozen other sweepers and cleaners.

MISS MONROE  
You do know that we'll probably never find out.

ROSCHELLE  
Unless he knows who it was.

MISS MONROE  
Come on, Roschelle, do you think anyone would take Luke's word for it? 

ROSCHELLE  
(seeing Monroe's point)  
Probably not.

Calvin enters the room and stops sharply when he sees Luke.

CALVIN  
What happened to him?

ROSCHELLE  
(sighing)  
We're not sure.

CALVIN  
Well, whoever did Seven over, at least they didn't go to the lengths Johanesson did.

ROSCHELLE  
What are you talking about?

CALVIN  
Don't you know?

Calvin is met by blank looks from Miss Monroe and Roschelle.

MISS MONROE  
Know what?

CALVIN  
(deep breath, then speaks)  
Johanesson died last night.

ROSCHELLE  
How?

CALVIN  
(scratches his chin)  
I'm a little sketchy on the details, but I heard he drowned in his swimming pool. Seems like it was an accident… I never knew he swam.

MISS MONROE  
How'd you find out?

CALVIN  
I was called to a meeting in the Tower. I asked what was going on and they told me that the position of Centre 16 Director is now an empty slot, waiting to be filled.

ROSCHELLE  
So you're a candidate?

CALVIN  
(smiling slightly)  
Quite a probable one, I think.

MISS MONROE  
What about the Prodigies?

CALVIN  
In the quite likely event that I'm appointed Director, I'll source some more funding to the area so we can finish this off, once and for all 

MISS MONROE  
So you're confident you'll be getting it?

CALVIN  
Absolutely. Who else would be?

MISS MONROE  
I don't know…

MISS MONROE/ROSCHELLE (in unison)  
Fallen?

EXT: BLACKPOOL POLICE STATION – DAY

A multi-storied, modern building.

INT: RECEPTION AREA

Justin walks in, dressed in a respectable charcoal suit. He speaks a few words to the secretary and is pointed towards the lifts. He walks toward them confidently, carrying the leather portfolio under one arm. He steps into the lift with a few other people and smiles slightly as the doors close.

INT: ADMINISTRATION OFFICES

Justin steps out of the lift and heads towards an office door marked "Chief". He is stopped by a woman dressed in police uniform.

FEMALE OFFICER #1  
I'm sorry, Sir, but I can't allow you in there.

Justin pulls out a wallet and flicks it open to reveal an FBI ID card and Badge. He leans his head to the side slightly, inviting a reaction.

FEMALE OFFICER #1  
My apologies, Sir. I'll let the Chief know you're here.

JUSTIN  
(smiles indulgently as he puts away his badge)  
No hurry.

Justin opens the door and slips in. He places various things on the Chief's desk, in the drawers, and finally pulls out a capped syringe then hides in a closet, leaving the door slightly ajar.

A moment later, the Chief enters, a trim, middle-aged man in uniform. From Justin's POV, we see him lean over the desk and examine the papers in front of him. He looks up, panicked. Justin steps out, a gun in one hand, the syringe in the other. The Chief turns and sees Justin, reaches for his own gun, but Justin shakes his head and the Chief gives up on the idea.

The two stand there a moment, until Justin speaks.

JUSTIN  
You should have quit while you where ahead, Chief. But, no, you were greedy.   
(Justin wags his finger slightly)  
Tusk, tusk, that was a silly thing to do.

CHIEF  
Who's gonna believe this rubbish? It's all fake! You can't prove any of it.

JUSTIN  
I don't have to. Destiny Moore did. Before you had her killed to stop her from printing an expose on you and your coast to coast drug trade.

CHIEF  
Lies! Why would I have Destiny Moore killed? She's a great reporter, a friend of mine! You're crazy.

JUSTIN  
Oh, sure, she was a friend of yours until she realised that the drugs smuggled through here, through your own precinct and jurisdiction were what killed her brother four years ago. You care nothing for human life, you only care for your money and your profits.

CHIEF  
(pulls his gun quickly and releases the safety)  
I ought to kill you right now.

JUSTIN  
Why? Because I'm right? Well, Chief, if you look out the window right now, you might find a very compelling reason to change your mind.

The Chief edges over to the window and looks outside. Across the street sit Mercedes and Trinity with a large betacam video camera, capturing every moment. The Chief looks back toward Justin, then leans against his desk.

CHIEF  
(sighs, as if in defeat)  
So what are you going to do?

JUSTIN  
(giving a shifty smile)  
I think I'll give you a taste of your own medicine.

INT: CHIEF'S OFFICE

We see Justin walk out the door; the Chief sprawled on the carpet. Justin closes the door behind him firmly, a small smile on his face as he walks toward the elevator.

EXT: CITY STREET NEWSSTAND – TWILIGHT 

A young man stands (back to the camera) at the busy newsstand looking through the paper. He pauses at one page and we CLOSE IN to see that it is Trinity, Justin and Mercedes's encrypted article and subliminal photograph. We swing around the young man to reveal it is UNO, who shakes his head slightly in disbelief as he scans the page. Then he smiles as he closes the paper and folds it up. He hands a note to the vendor before tucking the paper under his arm and walking away.

EXT: CENTRE 16 (WIDE) – EARLY EVENING

INT: ROSCHELLE'S LAB

Roschelle sits at a lab bench, looking at something through a microscope and then pulling away to take notes. Miss Monroe enters silently from behind and surprises Roschelle when she speaks.

MISS MONROE  
Roschelle, what are you doing here?

ROSCHELLE  
Working. What else? But what are you doing here? I thought you were invited to Johanesson's wake.

MISS MONROE  
Family only.

ROSCHELLE  
I didn't know he had any family. 

Miss Monroe shrugs, uninterested. She wouldn't want to be there anyway.

MISS MONROE  
That's what Calvin told me, anyway. So… what are you working on?

ROSCHELLE  
Just some blood analysis, that kind of thing. Nothing very exciting.

MISS MONROE  
(reaching for the microscope)  
Can I take a look?

Miss Monroe leans down to examine the samples without waiting for an answer. Roschelle looks slightly worried.

MISS MONROE  
(still peering into the eye piece)  
This blood looks a little weird.

ROSCHELLE  
(nervously)  
It's been mutated with an extra gene or two. One of the other researchers wanted me to take a look at their work and tell them what I think.

MISS MONROE  
Consultancy, huh? Good luck.

Roschelle looks sharply at Miss Monroe, as if she's being sarcastic. Miss Monroe doesn't see the look and turns to leave. As she reaches the door she turns back to face Roschelle.

MISS MONROE  
Roschelle?

Roschelle looks up.

ROSCHELLE  
Yes?

MISS MONROE  
How much longer do you think it'll take us?

ROSCHELLE  
To catch them?

MISS MONROE  
Yeah.

ROSCHELLE  
If Calvin can allocate extra money and people to us, we might be able to wrap it all up in a few months.

MISS MONROE  
Starting to look like a goal we can achieve.  
(she smiles, a rare honesty showing through)  
See you tomorrow, Roschelle.

ROSCHELLE  
(already bending over the microscope again)  
Good night, Miss Monroe.

INT: FALLEN'S OFFICE – NIGHT

Fallen leans back in his chair fingering a small cassette tape, still wearing his bright new tie. Smiling, he slips it into a player and clicks the 'play' button.

MISS MONROE [on tape]  
Hello, Fallen. If you're listening to this, I guess that you've stolen this tape from my office. Bad move.

As Miss Monroe's voice continues to speak, we see Fallen's face grow more shocked by the second as he realises he has been duped.

MISS MONROE [on tape]  
Because of course, this tape being in your possession means that you  intended to take the other tape. In case you haven't guessed by now, this isn't it. So I'd suggest that you return it to my office before I find out it's gone.  
(pause)  
And by the way, Fallen… get a new tie.

Fallen stops the tape, and takes it out of the recorder. He puts it into a side pocket and walks out of his office with a purpose.

EXT: PRODIGY WAREHOUSE – EARLY MORNING

The sun dawns from behind the warehouse. We close in on the small door for people cut into the larger vehicle door as Trinity exits the warehouse.

EXT: PARK – EARLY MORNING 

Trinity walks through the empty park, gazing off into the distance. She abruptly stops and pulls Luke's ring from her pocket. She brings it up towards her face and looks at it carefully.

She has a series of **FLASHBACKS**:

FILE 1.01 – REUNION 

(Trinity's apartment.) Sitting on her bed, Trinity leans against the window beside her bed. Her hair is dishevelled, and dark circles have developed underneath her eyes. She sniffles, sighs then turns to lie on her side, only to notice Luke standing in her doorway.

LUKE  
Nice place.

TRINITY  
It's a dump

LUKE  
Funny, a Prodigy, in Las Vegas, of all places, living in a hole like this 

He smiles, a warm, infectious smile. Trinity smiles back at him.

TRINITY  
Hello, Luke.

FILE 1.02 – ORIGIN 

Abandoned warehouse. Luke, Justin, Dina and Mercedes sit together around a table made of overturned fuel drums and rotting board. Trinity sits away from them, lost in her own thoughts, staring out a window at the moon. The others realise something is wrong; they all look at each other, deciding who will talk to her. Luke gets up, carrying a plate, and heads toward her. He approaches her, offering her the plate.

LUKE  
Hey, Trinity, I've got an extra sized piece of melted cheesecake with your name on it.

Trinity looks up at him and smiles weakly, accepting the plate, and poking at the runny cheesecake with a spoon.

FILE 1.03 – KICK 

LUKE  
An urban legend the lot of it, told to snivelling Directors so that they won't allow their subjects to escape and risk turning America into a nice place to live…

MERCEDES  
Justin believes…

LUKE  
It's more like Justin just wants to be a hero…

TRINITY  
Well I think it's good that he would want to help…

Camera CLOSES IN on line of cards Trinity has created on the bed. They are all organised in matching pairs. MOVE TO Luke's face, as he looks earnestly at Trinity.

LUKE  
Yeah, but one day it's gonna get us all killed…or reclaimed.

**FLASHBACK** BREAK: We cut back to Trinity in the park, now sitting on a bench with a sad, lonely look on her face.

FILE 1.03 – KICK (cont.)

Luke and Trinity are asleep. Trinity lay wrapped in Luke's arms, and not underneath the bed.

FILE 1.04 – SURVIVAL 

LUKE  
You know, it's sort of not a quest, you know, just a little insignificant search for something integral to our survival, but whatever you want to call it…

TRINITY  
I am sure that if we do not search for the answers to this whole 'Mentor T13' thing than we'd be making a big mistake…

JUSTIN  
You're just saying that because you and Luke are…

LUKE  
(standing up and grabbing Justin by his shirt front)  
I warn you not to finish that sentence, my friend

FILE 1.07 – THE LAST NIGHT 

(Lying sandwiched between two elevators in an elevator shaft)

LUKE  
(Through his laughter)  
You know, I think we're dying. Our brains are being deprived of oxygen, and that's why we're laughing in this completely and utterly inappropriate place.

TRINITY  
(Through her laughter)  
Well, at least I'll die with the man I love.

Luke stops laughing immediately and looks at her seriously. Trinity doesn't seem to realise what she has said for a moment, and then she too stops laughing, returning Luke's serious stare. 

They move closer together in an effort to kiss… but Luke's laptop is pressed between them and their heads are stuck only inches away from each other. They give each other another look, and burst into laughter again.

** FLASHBACK** BREAK: We cut back to Trinity again. She has pulled knees up to her chin, feet resting on the edge of the bench, arms wrapped around her legs, a small, ironic smile on her face.

FILE 1.08 – HO, HO, WHO?

Luke hangs a sprig of mistletoe in the doorway, as Trinity stops what she is doing and walks toward him. Luke has his arms in the air, putting up the mistletoe, as Trinity approaches him, placing her hands gently on his cheeks and kisses him. Luke moves back slightly, shocked, and stares at Trinity incredulously. He stammers as he speaks.

LUKE  
Wha... wha..., I mean, umm...

Trinity smiles shyly.

TRINITY  
It's what you do, people under mistletoe, you kiss them.

LUKE  
(somewhat relieved)  
Oh... so it is another one of the strange practices associated with this holiday festival? Kissing people under what is in all actuality, a plastic replica of a parasitic plant?

TRINITY  
Yes.

Trinity walks closer toward him, her face merely inches from his

LUKE  
(swallowing hard at Trinity's closeness)  
It seems that I am unfamiliar with this custom.

TRINITY  
Then it would seem that perhaps you need to practice

She moves in to kiss him again, and Luke nods at her suggestion

LUKE  
Maybe.

And they kiss passionately, until we hear a mechanical crashing sound from Luke's laptop, signalling the finishing of some task. Trinity and Luke break apart, and Luke races away.

**FLASHBACK** BREAK: Back to Trinity. Her smile is fading as she remembers something else…

FILE 11: MENTOR T13 Pt. 2 

Luke steps forward slowly, walking toward the C16 staff. Miss Monroe glares at him. Fallen watches as Haley lets go of Trinity. Trinity walks toward Luke. In SLOW-MO she approaches him. Her hands and feet are cuffed, she is gagged. END SLOW-MO. The rain wets her hair, water mixing with tears on her weary face. Luke too is crying as he reaches for her, pulling her gag away. 

TRINITY (sobbing)  
Luke don't do this... 

LUKE  
I have to Trini, I killed, not you, I should be the one to be punished... 

TRINITY (whispered in desperation)  
Please, Luke, no-one has to be punished... 

She reaches up and kisses him in the pouring rain. Haley moves forward and cuffs him, undoing Trinity's. 

TRINITY (sobbing)  
No.. no.. 

Justin comes forward and takes Trinity by the shoulder, she brushes him off. Mercedes is crying and Dina mouths the words "We love you" as Luke turns his back on them and walks toward the van slowly. Trinity tries to go after him, but Justin puts his arms around her waist, holding her back. 

TRINITY (crying, almost screaming)  
Luke! No.. Luke... please.. don't take him... 

Haley puts Luke in the van followed by Fallen and Monroe, then closes the door as she hops in herself. The van begins to drive away. Luke looks out the back window at Trinity one last time. Justin pulls Trinity back as she screams and cries for Luke. The rain pours as the subjects watch their brother sacrifice himself. Inside the van, Miss Monroe looks across at Luke, who stares out the window, a single tear rolling down his cheek as he closes his eyes. Fallen seems grim. Trinity drops to her knees in the rain, sobbing at Justin's feet as the light from van fades as it drives away. 

**FLASHBACK **BREAK: Tears now pour silently down Trinity's cheeks as she holds the ring between her forefinger and thumb. Then she takes it in her left hand and puts it on her right ring finger. She holds it up to the light and smiles sadly, erupting into a new flood of tears. She covers her face with her hands and sobs. We CLOSE IN on the ring as we fade out…

INT: CENTRE 16 INFIRMARY

Luke lies alone in the white-curtained area, looking straight ahead. A Centre orderly enters, pushing a small cart.

ORDERLY  
(curtly)  
Arm out.

Luke doesn't raise his arm, so the orderly takes it roughly and pulls up the wide sleeve of his gown to reveal several bruises and prick-marks from needles. We see from Luke's wince that it hurts, but he doesn't say anything. The orderly takes a needle off her cart and places the plunger correctly before pushing it into Luke's arm and pulling back the plunger, filling the syringe with blood. Once done, the orderly withdraws the needle and places it on a tray the cart, then turns and wheels the cart away. We CLOSE IN on Luke's haggard face, still covered with scratches and bruises. We MOVE IN further, CLOSING IN on his left eye.

We see a montage of visions of Trinity, from when she lay in her Las Vegas apartment, to several cities on their travels. Smiling, laughing, sad, hurt. We see the scene from "MENTOR T13 Pt. 2" again; Trinity's sad face, tears running down her cheeks. 

We CUT BACK TO Luke, sitting in his hospital bed. Still sitting stoically, a few tears leave his eyes, fall down his face as we pull away.

**SILENT MONTAGE:**

Calvin stands in front of a mirror, tying a tie. He reaches down to pick up the phone and he listens for a few moments. He nods and puts the phone down, resumes tying his tie with a slight smile on his face.

CUT TO: Justin sits in his car, Mercedes beside him. He looks impatient as he toots the horn. Trinity leaves the Prodigy warehouse and throws her bag in the car, then jumps into the backseat. She holds the frame with her right hand and we see she is wearing Luke's ring as they drive off.

CUT TO: JC's cell on SL-11. It is dimly lit, but we see that he's already dressed as normal, sitting on the edge of his bed. The door opens and a shaft of light illuminates him as he gets up and walks out into the corridor. 

CUT TO: Miss Monroe driving to work, stern and uptight. She gets a call on her cell and she lifts it to her ear. She listens, then flips it shut and tosses it onto the passenger seat. She looks slightly happier.

SILENT MONTAGE ENDS 

INT/EXT: JUSTIN'S JEEP – HIGHWAY

Justin is driving through the midday heat and haze. Mercedes is asleep in the passenger seat and Trinity is in the backseat, looking out on the flat, land outside. The wind whips everyone's hair around wildly. Justin gets a call on his cell phone.

JUSTIN [into phone]  
Hello?

UNO [intercut, into phone]  
Sup?

JUSTIN  
Um..?

UNO  
Common slang usage. I'm down with the lingo brother... What are ya doin'?

JUSTIN  
On our way to get Dina... she's feeling better

UNO  
Are you serious about Mentor T13? There's none left?

JUSTIN  
We're pretty sure. So don't go around accepting any rotten Centre offers, will you?

UNO  
No way, Jòse. Look, is Trinity okay?

JUSTIN  
She's…   
(looks at Trinity in the rear view mirror)  
I'll pass her on. Later, Uno.

Justin half turns in his seat and passes Trinity the phone.

JUSTIN  
(calling over the noise of the wind)  
It's Uno.

Trinity takes the phone and holds it to her ear. Justin watches her again in the rear view mirror. She doesn't look _extremely_ happy, but the sad look leaves her face as she talks.

We PULL OUT of the car and watch it drive away along the highway.

THE END NEXT WEEK ON PRODIGY 

FILE 1.12 – ESCAPE: After Luke escapes from Centre 16, the Prodigies are unsure of who to trust...


	12. 112 Escape

FILE 1.12 - Escape

(Story Idea by Vokal; Development and Screenplay by Jack (28.2.02 – )

EXT: CENTRE 16 (WIDE) – EVENING 

_ Text on Screen: Centre 16_

Salt Lake City, Utah 

INT: LUKE'S CELL/SURVEILLANCE ROOM

ROSCHELLE is packing up for the day. She gathers up notebooks and pens into neat piles and looks up through the mirrored glass into LUKE'S cell. Two sweepers are strapping him to the bed. She has a FLASHBACK:

(FILE 1.11 – Kill the Messenger)

Roschelle carries her jacket over her shoulder as she walks into the surveillance room. She hangs it over the back of the chair before looking up to see a smear of blood on the mirrored glass.

Roschelle walks around to the outer door of Luke's cell and looks in through the small observation window. He is lying in his bed, as normal. She keys in the code and enters, walking towards Luke's bed. She stops a few metres away. In the lower corner of the screen we see Luke's hand on top of a sheet, covered with scratches and blood.

ROSCHELLE

(in a whisper)

What happened?

END FLASHBACK

Roschelle shakes her head, snapping out of the flashback. She looks up through the window again and sees that the sweepers have finished and left. She puts a hand up against the window.

ROSCHELLE

(softly)

Goodnight, Luke.

Roschelle picks up her jacket and ID card and leaves the room, snapping off the lights as she leaves the room.

We cut to an overhead shot of Luke laying in his cot. His eyes are wide open, muscles taunt and fists clenched.

CUT TO: CITY - - SIDE ALLEY – MORNING

CLOSE UP on a pile of rubbish next to a large industrial Dumpster. The pile starts to wobble and a male figure clothed roughly, a beanie jammed down on his head; steps out. He stretches, back to the camera, and we CLOSE IN to see the number 07 tattooed in the centre of his lower back as his shirt lifts up. He walks stiffly away down the alley, as we rise up above the buildings to see him walking into the large city.

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

EXT: LARGE SUBURBAN HOUSE

Text on Screen: Springfield, Missouri 

A bright, cloudless day, the sun is high in the sky.

CUT TO: BACKYARD

JUSTIN pushes a lawn mower back and forth across the lush green grass. He is hot and sweaty; face smudged with dirt and bits of grass.

A middle-aged woman we will know as NANCY MARTIN steps out of the house onto the covered porch and calls to Justin.

NANCY

Justin, would you like something to drink?

Justin smiles gratefully.

JUSTIN

That would be wonderful, Mrs. Martin.

He turns off the mower and jogs lightly toward the porch. He swings himself around one of the supporting poles and onto the platform. Nancy comes back out of the house again, carrying a tray with a jug of lemonade and two glasses.

Justin picks up a newspaper sitting on the coffee table to make room for the tray. Nancy smiles a thankyou and begins to pour as Justin flicks idly through the newspaper.

We close in on the newspaper as he reaches the "classifieds" section, following his eyeline as he scans the notices.

NANCY

Oh, that's yesterday's paper. Have a look at this one.

Nancy takes a newspaper from a sideboard and hands it to Justin. He turns to the classifieds and begins scanning again.

NANCY

Justin – Your lemonade.

Justin looks up and smiles, taking the glass of offered lemonade. He takes a long gulp and sighs appreciatively.

JUSTIN

That's wonderful, Mrs. Martin.

NANCY

Oh, call me Nancy. I'm glad you like it. My children always raved about it too…

Justin looks back to the classifieds and Nancy Martin is tuned out as we CLOSE IN on one advertisement that begins

SEEKING OLD FRIENDS

Professional Rodeo Orator 

decides its great! Your 

subordinates usually better.

Justin looks up in alarm at Mrs. Martin, who is still chattering.

NANCY

… And their friends always came over here just for my lemonade…

JUSTIN

(interrupting)

Mrs. Martin; Nancy, I know this is very rude of me, but I've just remembered I have a very important appointment at – 

(Justin looks at the clock above Nancy's head and sees that the time is 12:37)

– 1 pm. Would you mind if I came back later today to finish off the lawn?

NANCY

(surprised)

Well, not at all, Justin. 

JUSTIN

(relieved)

Thanks, Mrs. Martin. Could I borrow this newspaper?

NANCY

(puzzled)

Of course.

JUSTIN

Thanks!

Justin dives off the porch and runs away, newspaper clutched in hand. Nancy looks on in wonder.

INT: PRODIGY APARTMENT – LOUNGE ROOM

Plain white walls everywhere. MERCEDES and DINA sit knitting jumpers. Mercedes is obviously the expert at this and constantly leans toward Dina to show her things. Justin bursts in the door, newspaper still in hand, startling the two girls.

MERCEDES

What are you doing back?

JUSTIN

I found this.

He spreads the newspaper out over their knitting and flicks through until he reaches the classifieds. He jabs a finger at a page.

JUSTIN

Look at this.

Mercedes and Dina lean forward and we CLOSE IN on the personals ad again, only this time the entire ad is revealed.

SEEKING OLD FRIENDS

Professional Rodeo Orator 

decides its great! Your 

subordinates usually better.

Just email Curtis Tasmin-Smyth. 

Presently Leased, Easily 

Avoided, Seek Evermore 

Heathens. Earnest Learners 

Please – Let Unis Know 

Explanations.

Mercedes and Dina look up, puzzled. Justin is exasperated.

JUSTIN

Well?

MERCEDES

It's certainly a very strange ad.

JUSTIN

Didn't you guys ever – 

(he realises something and whispers to himself)

Of course.

The door opens again and TRINITY walks in lethargically, carrying a large paper bag of groceries.

Justin walks up to her and grabs her by the elbow, dragging her to the table, taking Trinity by surprise.

TRINITY

(puzzled, surprised)

What's going on?

JUSTIN

(pointing at the ad again)

Have a look.

Trinity leans over to look at the newspaper, pushing a lock of hair out of her eyes. The expression on her face goes from puzzlement to utter disbelief. She drops the bag of groceries, and it lands on Dina's foot.

DINA

OUCH!

Trinity doesn't seem to notice the noise, or the dirty look that Dina is shooting her.

MERCEDES

What's going on here?

Instead of answering, Trinity picks up a nearby pen and starts scrawling on the jumper pattern.

"PRODIGY SUBJECTS PLEASE HELP – LUKE"

Mercedes and Dina look at her in amazement.

DINA

How'd you get that

(gestures to her scribbled words) 

out of  that?

(points to the article)

Justin takes the pen from Trinity's hands and starts underlining every first letter of the notice. Mercedes and Dina watch on in growing understanding. When Justin is finished underlining, he caps the pen and drops it on the table. He turns around to see Trinity sitting on the edge of the sofa, playing with the ring on her right hand. She looks up at him, with imploring eyes.

TRINITY

We are going to answer this, aren't we?

EXT: CENTRE 16 (DAY)

MR FALLEN (VO)

You know, Monroe, you're a very lucky young woman.

CUT TO – INT: MISS MONROE'S OFFICE

MISS MONROE is standing at the window but facing the door, having heard MR FALLEN enter the room. She gives him a docile smile and stands behind her desk.

MISS MONROE

And you come to that conclusion how, exactly?

MR FALLEN

You lost Subject Seven on a night with a Level 4 lockdown. If Johanesson were still here he would've had your head.

MISS MONROE

(flippantly)

Good thing he decided to go for a swim when he did.

MR FALLEN

The Director will not be able to ignore your inability to contain a subject when you're lucky enough for one of them to give themselves up.

MISS MONROE

Calvin knows exactly how difficult it is to keep these kids in. I'm sure he will be very understanding.

MR FALLEN

Sure,  Calvin will be understanding. I was thinking more of a certain Blue Cove Director.

MISS MONROE

Spit it out, Fallen, I don't have time for games.

MR FALLEN

I'm sure you get enough of those from your little old playmates. My point is; Lyle called an hour ago and I had to deliver the regretful news that we had lost the one subject we had managed to retrieve. Needless to say, Lyle was very disappointed… he said he'd had some research plans for Seven.

MISS MONROE

Somehow I doubt he needed Luke to do research… more like play some twisted little games.

MR FALLEN

Luke? Games?

MISS MONROE

Oh, come on, Fallen, stop acting oh-so-scientific. They've all given themselves names now. He isn't Seven. He's Luke. And I've done some research on Lyle – 

MR FALLEN

– You mean, JC has done some research on Lyle.

MISS MONROE

(ignoring the interruption)

and he's sick.. Do you have any idea what he did to one of the Pretenders they recaptured a few years back? They – 

MR FALLEN

– I'm sure whatever he did was justified.

MISS MONROE

My butt it was justified, they strung him up by his wrists and shocked him with jumper leads. What does that tell you?

MR FALLEN

(mildly)

That Mr. Lyle is a very resourceful man.

MISS MONROE

More like a very resourceful sicko – 

Miss Monroe's words die in her throat as LYLE enters the room and stands slightly behind Mr Fallen.

MR FALLEN

Uh, like I said, Mr Lyle called by to see what was happening in this part of the world. I took him down to show him the Surveillance Lab, and he was very impressed by the technology – 

LYLE

– But very disappointed by the lack of someone to use it on.

MISS MONROE

(forcing politeness)

Nice to see you again, Mr Lyle.

LYLE

Somehow I doubt that, but let's say for argument's sake that you're telling me the truth.

Lyle walks around the desk and seats himself in Miss Monroe's chair.

LYLE

The fact of the matter is, Miss Monroe, you did lose a retrieved subject during a Level 4 lockdown. A very important subject, so I understand.

MISS MONROE

Yes, he was to be intrinsic to our understanding of the subject's frame of mind in the open world. Unfortunately, he had former POW training and we didn't get anything out of him during his time with us.

Miss Monroe has a brief FLASHBACK

Miss Monroe stands next to Luke's cot, gun drawn, pointed unflinchingly at his chest. Her eyes and voice are full of barely controlled anger.

MISS MONROE

Tell me why you killed my father. And how, how; for Christ's sake! And where, and everything. Everything… I want to know everything.

We CLOSE IN on Luke's face to see the look of confusion and worry on his face.

END FLASHBACK

LYLE

Miss Monroe? Would you care to join us back in the land of the living?

Miss Monroe shakes her head clear of the flashback and smiles slightly; more a polite gesture than anything meaningful.

MISS MONROE

(firmly)

I assure you, Mr Lyle, my team and I will soon reapprehend the escaped subject, along with all the others who escaped in 1998.

LYLE

Is this bravado or a firm promise, Miss Monroe?

MISS MONROE

A promise, Sir. We intend to return as many as we can to Centre 16.

LYLE

As many as you can?

MISS MONROE

As many as we can take alive. I'm sure you're aware that many of these subjects would rather die than come back. Some of them may wish to commit suicide in preference to returning. But we will do our best.

LYLE

I'm sure that you will.

(he stands and walks around the desk, heads for the door)

Come along, Mr Fallen; show me the way to your new Centre Director.

Fallen shoots Miss Monroe a dirty look as he follows Lyle from the room. A bit of a commotion at the doorway before Lyle and Fallen leaves results from JC trying to enter at the same time. As soon as they are out the door, he is inside, holding a tiny laptop computer in his hand.

JC

You wanted to see me?

Miss Monroe sits down behind her desk

MISS MONROE

(sighing)

Just… hurry up with Luke, OK?

JC

(slightly puzzled)

We've been chasing them for over six months and now you want me to hurry up?

MISS MONROE

The stakes have risen, JC, surely even you can see that.

JC

On the contrary, I thought that with Johanesson gone, the stakes were nowhere near as high.

Miss Monroe shoots him a dirty look.

JC

But, I might be mistaken…

MISS MONROE

Why do I think the second option is the more likely one?

JC

Because you underestimate me.

INT: LOUNGE ROOM, PRODIGY APARTMENT 

Trinity and Justin are arguing. Dina and Mercedes are nowhere in sight.

TRINITY

Justin, please, we have to help him!

JUSTIN

How likely do you think it is that he got out alone, Trinity?

CUT TO: BEDROOM 

Mercedes and Dina sit side by side on the edge of a bed, knitting as they listen to the fight.

CUT TO: LOUNGE ROOM

TRINITY

(eyes narrowed)

What are you saying?

JUSTIN

I'm just saying, it's possible that he's been turned. That they let him out to reel us in – 

Justin is cut off as Trinity goes to slap him across the face. He catches her hand in time and holds it tightly halfway between them.

TRINITY

He'd never do that!

JUSTIN

(soothingly, letting go of her hand)

He might not want to, Trini. If they took him to Renewal Wing, who knows what happened to him? He could think that we're all indians that he has a cowboy responsibility to round up.

TRINITY

He'd never let them turn him. Never! They can't turn him... he's a pretender...

JUSTIN

Their technology has improved... I heard that up at Centre 33 they had got a pretender so whacked out he didn't even remember... well... anything. 

TRINITY  
He wouldn't forget us... he couldn't.

JUSTIN  
They would at least try to make him forget. Trinity, you and I have both seen what happens to people when the Centre tries 'Renewal' and it doesn't work. They're never the same...

Silence ensues.

JUSTIN  
They would have tried. I think it'd be a very strategic thing to do.

TRINITY

You would.

JUSTIN

(ignoring the snide remark about his past)

So, please, just calm down. If he sends out another notice in a week or so, we'll think about it. But I think it's a little premature to go running off as soon we hear a single word. Especially in such a conspicuous code.

TRINITY

So conspicuous that even Mercedes and Dina didn't see it?

JUSTIN

You seem to forget that we're not only up against humans, Trinity. The Centre probably has computers working overtime looking for the slightest reference to anyone that just might be us. It would surely be encoded with the various ciphers we were taught and I seriously doubt that they haven't already picked it up.

TRINITY

Just say that you're wrong. What'll happen to Luke if no one goes to help him?

JUSTIN

Luke's a big boy, Trinity; he can take care of himself.

TRINITY

Physically, yes. But he has to be in pain, Justin.

JUSTIN

Look, I – 

(Pause)

What do you mean, 'he has to be in pain'? Can't you feel him?

TRINITY

(slightly ashamed, worried)

No, I can't.

JUSTIN

But, I thought you two were, I dunno…

Justin gives up on words and holds up his two forefingers with the fingertips touching. 

JUSTIN (cont.)

(feebly)

Close.

Trinity sits down on a chair, her bravado and fight gone.

TRINITY

Up until a few days ago I could. Then suddenly I couldn't. I have no idea what happened to him, Justin, but whatever it was, he's blocking me off. He won't let me inside his head.

JUSTIN

He can do that?

TRINITY

If he was right here, no, but since he's so far away I can't project anything onto him. I can't make him open his mind, and as long as he's closed off, I can't get anything.

JUSTIN

Makes you sound like a TV Ariel.

TRINITY

(sarcastic)

Thanks.

Mercedes enters from the other room.

MERCEDES

Look, Justin, if Trini wants to see if she can get something on her sonar – 

Dina pops into the room and corrects Mercedes

DINA

Radar.

MERCEDES

Whatever. If she wants to, let her go. She knows she has to be careful.

TRINITY

Come on, Justin, you know she's right. I promise I'll stay out of trouble. I'm just going to do a bit of digging around to see if I can find out how the newspaper received that ad.

JUSTIN

(sighs)

Fine. But you take good care of yourself. And if you find anything out, you call us. And if you get a message from Luke saying that he wants to meet – 

TRINITY

(earnestly)

I'll call you. I promise.

Justin looks at his watch.

JUSTIN

I have to get back to Mrs. Martin's. You want me to walk you to the station?

TRINITY

Yeah, just a minute.

Trinity leaves the room and so does Mercedes. Dina speaks in a low voice to Justin.

DINA

Are you sure this is a good idea?

JUSTIN

No. But I bet it's the only idea we would've come up with anyway. And that's saying something.

FLASHBACK (B & W TINT)

INT: LUKE'S CELL

Luke lies in his cot, and everything around is quiet. In the dim light we CLOSE IN on his fist, which is flexing and stretching alternatively. Suddenly we hear a 'CRACK' as Luke dislocates his thumb against the leather wrist buckles. He groans in pain, but wriggles his hand free of the restraint and undoes his other hand clumsily before popping his thumb back into place with a grimace. He quickly sets about undoing the other straps. 

END FLASHBACK

EXT: STREET – EARLY TWILIGHT 

A loud car horn shocks Luke out of his flashback and he looks around, startled from his place on the ground. He sees there is no threat nearby, and tiredly rubs his hands over his face before cupping his hands in front of his mouth and blowing into them as if to warm them up. He stand up stiffly and starts walking into a park. We RISE above the forested park and see that on the other side there is a large newspaper office with the words

THE MISSOURI MAIL

WHERE THE WORLD IS YOUR NEWS

Emblazoned on the front.

INT: MISSOURI MAIL RECEPTION DESK

Luke enters and waits behind someone else at the desk. The RECEPTIONIST finishes talking to them and turns to Luke. She screws her nose up slightly (supposedly) at his smell, but presents a reasonably friendly smile.

RECEPTIONIST

Can I help you?

LUKE

Yeah, uh… I've placed a notice in the paper and I want to know if you've had any response to it.

RECEPTIONIST

Right. Do you remember your customer number?

LUKE

503682

RECEPTIONIST

(taps the number into her computer and waits a minute)

I'm sorry, there's been no responses or inquiries.

LUKE

(knocks his knuckles on the counter absentmindedly, sighs)

Can I come back in another day or two?

RECEPTIONIST

Of course, Sir.

LUKE

Thanks.

Luke goes to leave and head for the door, pulling up the collar of his tattered jacket. As he pushes out one door, Trinity comes in through another one several metres away. She walks toward the desk but is stopped by a VISION

She watches a 'ghost' of Luke walking through the door as he did only seconds ago. 

END VISION

Frowning, she steps up to the desk.

RECEPTIONIST

Hello, how can I help you today?

TRINITY

I'd like to know how I could reply to a notice in the classifieds.

RECEPTIONIST

Didn't the notice have a phone number or address in it?

TRINITY

No, I assumed I could do it here.

RECEPTIONIST

You can, I just thought I'd check. So, what ad would this be?

TRINITY

The one headed "Seeking Old Friends"

The receptionist types away on her keyboard and pauses. The shot is reversed and we see the file on the screen. We swing back again to see the surprised expression on the receptionists' face. 

RECEPTIONIST

(pointing)

You just missed him.

TRINITY

What?

RECEPTIONIST

You just missed him. He was in here a moment ago.

TRINITY

(leans forward over the desk and speaks urgently)

Which way did he go?

RECEPTIONIST

Uh, he went… that way.

The receptionist points toward the door Luke exited through and Trinity runs towards it. Out in the street she is overrun by the twilight crowds. She stops in the middle of an open square, looking, but sees nothing but anonymous faces in every direction. She sighs hopelessly.

EXT: CENTRE 16 (WIDE) – MID-MORNING 

INT: ROSCHELLE'S LAB

Roschelle sits on stool with a notepad on her lap, looking intently at a blackboard covered with white chalk mathematical equations. Miss Monroe enters.

MISS MONROE

Am I interrupting some soul-searching?

Roschelle puts a hand to her chest in surprise.

ROSCHELLE

I wouldn't quite say that.

MISS MONROE

So what are you doing? 'A Beautiful Mind' has already been made and released, in case you didn't know.

ROSCHELLE

(making marks on her notebook)

I can't believe that the quiet little girl I knew had such a driving wit inside her for so long and I never found out. 

MISS MONROE

That's what happens when someone sends you to boarding school – You develop a driving wit. Something that my teachers are proud of, no doubt. So, what are you up to?

ROSCHELLE

I'm just trying to see if there's a mathematical pattern to the way these kids travel.

MISS MONROE

And…?

ROSCHELLE

At the moment, nothing seems to be eventuating, but I'm hoping that I can get JC to run a compilation program that will put all my results together and come up with something we can work with.

JC enters the room, his mini-laptop in hand.

JC

No need. I got this off the mainframe just now.

He holds the laptop with one hand and opens it with the other, then presses a button and turns it around so the screen faces Roschelle and Miss Monroe.

We CLOSE IN on the screen to show an enlarged version of Luke's ad on the right side, with his hidden message writing itself over and over again in capitals on the left.

Miss Monroe makes a grab for the computer. JC lets her take it and hooks his thumbs into his thumbs into his jeans pockets.

MISS MONROE

(scanning the screen)

This says it appeared in the Missouri Mail yesterday.

JC

(nodding)

That's right. Sometimes the computers get backlogged, so it takes a day or so to come up; but once the computer got to this it came up straight away.

ROSCHELLE

What I don't understand is why he would write a letter in a code that he knows we know that they used.

MISS MONROE

He doesn't know who he's writing to. He has no idea if his little group is in the area – but even if they're not, maybe some of the others are, and they'd surely try to help him too.

JC

So what do you want me to do?

Miss Monroe snaps the laptop closed and pushes it towards his chest; JC's hands come up to grab it protectively.

MISS MONROE

Keep watch on the papers. If another ad appears in this area, call me, and call the jet. 

(tone becomes determined)

We're going to get them this time.

Miss Monroe stalks from the room, leaving JC grasping his laptop. JC and Roschelle swap looks.

EXT: PRODIGY APARTMENT – AFTERNOON

INT: KITCHEN

TRINITY (off screen)

Justin, please!

Mercedes and Dina sit at a table eating toast half-heartedly as they listen to Trinity and Justin argue heatedly.

JUSTIN

Trinity, I said no.

CUT TO 

INT: LOUNGE ROOM

TRINITY

(holding her thumb and forefingers very close together)

I was  this close yesterday! You have to let me put in a reply!

JUSTIN

I don't have to let you do anything. I think it's too early to respond.

TRINITY

The longer we leave it, the more likely it is that The Centre will figure it out!

JUSTIN

Trini, I –

Justin is cut off as his cell phone rings.

JUSTIN

(calmer)

Just a minute, 'kay?

Trinity nods her assent and Justin picks his phone off the table, presses a button and holds it to his ear.

JUSTIN

Hello?

INTERCUT: A young man in a black leather jacket and jeans stands in a phone booth. It is raining where he is and rivulets of water run down the plastiglass panels. He turns around and we see that it is UNO.

UNO

Justin, it's me.

JUSTIN 

[intercut]

Uno… hey.

UNO

Look, I don't have too long. What's going on down there? 

[intercut]

Why did I find a message from Luke in the Missouri Mail?

JUSTIN

How did you see the Mail?

UNO

I have my ways. The thing is, why are you guys being so conspicuous?

JUSTIN

[intercut]

It has nothing to do with us – Luke seems to have escaped and he put that in the paper to get some help.

UNO

So what are you going to do?

JUSTIN

Depends. Where are you?

UNO

([intercut], looking out at the rain)

I've been doing a bit of research up at Centre 5.

JUSTIN

(incredulously)

You're in Seattle?

UNO

This is not the time. The thing is, what are you going to do about this?

JUSTIN

[intercut]

What do you mean?

UNO

Stop him from putting in those ads, Justin. You have to find him before they do.

JUSTIN

It's too dangerous.

UNO

[intercut]

It's even more dangerous if they find him. 

(looks at his watch)

Look, I have to go. Find him.

JUSTIN

Right. Bye.

UNO

Bye.

Uno hangs up and walks out into the rain, pulling his jacket collar up.

CUT BACK TO: PRODIGY APARTMENT – LOUNGE ROOM

Justin presses a button on the phone to end the call, and looks at it for a moment. Trinity stands in the background, waiting. Justin turns to her.

JUSTIN

We wait. If there's another message, we find some way to contact him.

TRINITY

(sighs)

Thanks, Justin.

Justin looks at Trinity worriedly.

FLASHBACK (B & W TINT)

NT: LUKE'S CELL/CENTRE 16 CORRIDOR

Luke rummages under his mattress and pulls out a cloth-wrapped bundle. 

We see a door with the number '7' stencilled on it below an observation window with a keypad next to the door. A fist covered in cloth smashes through the window and clears the remaining glass before reaching out to find the keypad. Once found, the hand retreats back into the room and comes out a moment later with what looks like a credit card joined to a soft tape measure. The hand finds the keypad again and tries to swipe the card through a slot of the keypad. A second later, the card bumps against the keypad and the hand loses its grip. The card falls and hangs precariously by its cord.

LUKE

(muffled)

Damn!

CUT INTO Luke's cell, we see that one hand is sticking through the window while he holds a small machine in the other. A cord sticking out of the machine is obviously the cord clipped to the card.

We CUT BACK TO outside the room and watch Luke pull the cord carefully, entwining it between his fingers. He reaches out again and swipes the card.

Back inside the room, Luke looks intently at the readout on the screen of his machine.

END FLASHBACK

EXT: PARK – AFTERNOON 

Luke jumps awake as a passer-by drops a few coins on his chest. He has another FLASHBACK of his escape.

INT: CORRIDOR

We CLOSE IN on the keypad and see Luke's hand tap 8 2 7 3 1 6. The red light above the numbers go off and a green one turns on. 

Luke pushes the door open and takes his hand out of the window with some difficulty. With machine in hand, he starts sprinting up the corridor, which we see in sectioned cutaways as he runs toward the camera from the other end. 

At the corner he stops and looks both ways cautiously. He steps forward a bit to get his bearings, then turns to his right.

Luke approaches a corner and looks around to see a sweeper standing guard outside another door. The sweeper paces, and as soon as he turns his back, Luke darts across the open floor quickly.

An elevator tings and two people step out, two sweepers on their way to guard duty. They walk past a door marked "Janitorial Use". After a moment, Luke steps out and walking silently past the closing elevator, he finds a fire door with a keypad next to it. He swipes the card again and watches the readout of his machine before tapping 5 9 9 6 3 9. The lights change and Luke pushes the door open; then steps out onto small the fire escape balcony. Eyes closed; he smiles up at the bright moon, as if soaking up the moonlight.

END FLASHBACK

Luke sits up, running a hand through his hair. He takes a few deep breaths, then stands up and walks crookedly away, a piece of paper clutched in his hand.

EXT: PRODIGY APARTMENT – EVENING

Lights are on in several of the downstairs rooms.

INT: KITCHEN

Trinity stands at the counter, chopping vegetables. Justin enters the room and washes his hands at the sink. Trinity stops chopping and looks up.

TRINITY

Justin, I'm sorry – 

JUSTIN

(interrupting)

It's okay, I know you're under a lot of stress at the moment.

He turns to face her as he wipes his hands on a dish towel.

JUSTIN (cont.)

Trini, I want Luke back as much as you do – well, nearly as much as you do. But as callous as it seems, I don't want you or anyone else put in danger to get him back. 

Trinity looks down and starts chopping again, but nicks her finger with the knife.

TRINITY

(softly)

Ouch!

JUSTIN

Let me take a look.

Justin takes her hand and puts it under the cold running water. After a moment he takes it out and pats it dry on the dish towel. He takes a close look.

JUSTIN

Looks like it's fine.

TRINITY

(slightly embarrassed, shy)

Thanks.

Impulsively, Justin lifts her hand to his mouth and gives it a gentle kiss, then lowers and pats it calmly.

JUSTIN

(nonchalantly)

I read somewhere that that makes it better.

TRINITY

(trying to hide a smile)

Yeah, it feels much better.

JUSTIN

That's good.

Silence for a moment as Trinity returns to chopping and Justin stands listlessly.

JUSTIN (cont.)

Uh, can I… do anything? To help?

TRINITY

Well, you could… 

(looks around for something for Justin to do)

You could wash the lettuce.

JUSTIN

Great. Wash the lettuce.

Justin looks around for the lettuce. Amused, Trinity points toward the fridge. 

JUSTIN (cont.)

Ah, right.

He goes to the fridge and gets out a head of lettuce, then takes it back to the sink. As he starts to pull it apart and wash it, we PULL OUT of the kitchen and cut to the small hallway outside the room, where Mercedes and Dina stand watching Justin and Trinity through a crack between the two doors. They pull away and smile at each other.

MERCEDES

(whispering)

At least they've stopped fighting.

EXT: SPRINGFIELD NIGHT CITYSCAPE

The lights of Springfield – cars, homes, businesses and all.

EXT: PRODIGY APARTMENT – EARLY MORNING.

CLOSE IN as a newspaper is tossed onto the front porch. A screen door creaks and feet appear, legs clad in blue flannel pyjamas. The feet stop in front of the paper and Trinity bends over to pick it up. She unrolls it as she goes back inside.

INT: KITCHEN – MORNING

Mercedes enters the kitchen, already dressed in black jeans and teal sweater over a red polo-neck shirt. She stops suddenly and we PULL BACK slightly to reveal that Trinity, still in her pyjamas, is sitting at the table, head resting on her arms. Mercedes steps forward quietly and goes to touch Trinity on the shoulder, but Trinity pulls an arm out and holds up her hand in a 'stop' gesture. A moment later, she sits up. Her eyes are red.

MERCEDES

There's a message.

It is a statement, not a question. Trinity nods and pushes the paper toward Mercedes. One article is circled in red.

SEEKING OLD FRIENDS

Especially Scraped Cabbages 

Always Prevent Ecoli. Dare 

Colin "16"; Williams Another 

Night To Title Over Merryl – 

Ethan, Elijah Tennis – "07"

Below it, Trinity has scrawled over the other notices, also in red:

ESCAPED C 16; WANT TO MEET – 07

Mercedes looks at Trinity meaningfully. Trinity nods, and leaves the room.

INT: MISS MONROE'S OFFICE

Miss Monroe stands facing the window, reading something from a file. JC stands in front of her desk, laptop in hand. She tosses the print-off onto her desk.

MISS MONROE

He's getting sloppy – even put his number in.

JC

Maybe he figures that if any others are in the area they'll figure it out. I mean, he put "Luke" in the first one and they might not know it.

MISS MONROE

Well…

(she pulls her jacket off her chair and starts to put it on)

Have you called for the jet yet?

JC

Yeah. I also called Weston, Porter and Haley, we might need them.

MISS MONROE

I'll say. I don't think we could handle a crazy psycho all by ourselves, do you?

JC

Well, uh, I dunno.

MISS MONROE

Doesn't matter. What does matter is, we're going to have him back by this evening. And that just makes this world the tiniest little bit better to live in.

Miss Monroe strides from the room, JC watches her leave and shakes his head in disbelief before following.

INT: MISSOURI MAIL RECEPTION DESK

Trinity walks in, dressed in a deep purple jacket, white scarf and blue jeans.

She walks right up to the receptionist, a young woman dressed in more casual clothes than the first receptionist.

TRINITY

(places a piece of paper torn from the newspaper on the desk)

I need to contact the man who placed this ad.

The receptionist takes the paper and taps at her computer for a moment.

RECEPTIONIST #2

Well, this ad was actually placed by a woman. But she gave me an envelope in case someone called…

TRINITY

Trinity?

RECEPTIONIST #2

(surprised)

Yeah. That's you?

TRINITY

That's me.

RECEPTIONIST #2

Just a minute.

The receptionist gets up and walks across to a large number of pigeon hole mailboxes. She stops at one and pulls out an envelope. She returns to the desk and hands it to Trinity, who tucks it away in her pocket.

TRINITY

Thanks very much.

RECEPTIONIST #2

No problems.

Trinity leaves the office and leans against a wall as she opens the envelope. She pulls out a sheet of paper and unfolds it; and her eyes widen as she reads it.

INT: KITCHEN

Mercedes, Dina and Justin sit at the table while Trinity paces, arguing her story.

TRINITY

That's Luke's handwriting. I'd know it anywhere.

DINA

And it just happened to be dropped off by a woman? Don't you think that's a dead give away, Trini?

TRINITY

Maybe he asked someone else to take it in for him.

JUSTIN

Yeah, someone as in Miss Monroe.

TRINITY

It could have been anyone. I know, I should have asked what this girl looked like, but I didn't. But I tell you what, this doesn't feel like her.

DINA

What do you mean?

TRINITY

I can't feel anything in this that would point to it being written as a trap. I don't think she's even handled the letter, let alone the envelope.

MERCEDES

(angrily)

Come on, Trini, that's not good enough. Sure, I didn't feel Monroe on this either, but that doesn't mean anything. Sometimes I think we depend too much on our insight rather than on the hard evidence.

TRINITY

(insulted, defensive)

I'm sorry to say that I haven't been as successful as you in shutting off an ingrained habit that seems to have gotten stronger and harder to control in the last few months.

MERCEDES

I'm not saying that you should shut it off. I'm just saying – 

Triniy cuts Mercedes off with a hard look. The eye contact between them is intense and the tension in the air could be cut with a knife as Trinity stares down Mercedes. After a minute of silence, Mercedes pulls back suddenly, falling to the floor. At the same time, Trinity turns around, facing the wall. She grabs a cloth and begins to scrub the sink.

JUSTIN

(looking from one to the other, puzzled)

What was that?

MERCEDES

(getting up)

It's okay, J. Just a little mind-to-mind talk.

DINA

(matter-of-factly, to no one in particular)

This is freaky.

JUSTIN

(forceful but courteous)

You have something to say, Trini, please say it to all of us.

Trinity throws the cloth down and turns to face the others. 

TRINITY

Luke is one of us, and you want to leave him out there for The Centre to track down. 

JUSTIN

It's risky for us to make such public contact with him.

TRINITY

How about I leave a note for him at the newspaper?

DINA

I just don't think it's worth the risk yet. By exposing yourself, you expose all of us. You may as well send up a flare and tell the L&R team exactly where we are!

TRINITY

(sighing)

What if there's one more?

JUSTIN

If there's another one, we'll leave a note for him at the office and tell him where to meet us. But this time he's just going to have to let it slide.

Trinity walks to the table and picks up the letter and envelope.

TRINITY

Good night, everybody.

INT: TRINITY'S BEDROOM

Trinity sits in bed, reading Luke's letter by the light of the bedside lamp.

LUKE'S VOICE

To Trini, I know you're in the area, I can just feel it. Please meet me at the Richard Street Bridge at 11pm on Thursday night. Luke.

She looks at her bedside clock – 10:57 pm. Sighing, she folds the letter up, puts it on the bedside table and turns off the light. From the dim light of the streetlight outside we see her curl up in her bed, face troubled, as rain falls down heavily outside.

EXT: RICHARD STREET BRIDGE – NIGHT

Luke stands under the bridge to keep out of the pouring rain. In the background a bell starts tolling. 

DONG! DONG! 

DONG! As if in slow motion, a black van pulls up and the passenger door opens. 

DONG! Miss Monroe jumps out, pulling her gun and starting to yell at Luke.

DONG! We see Luke's surprised face as he turns to run.

INTERCUT with Luke's escape into the rain is his escape from Centre 16 – the bells are slightly muffled as if they can't be heard properly.

FLASHBACK DONG! Luke pushes the emergency door open; then steps out onto small the fire escape balcony. Eyes closed; he smiles up at the bright moon, as if soaking up the moonlight.

PRESENT DONG! Luke runs across the road, looking back to see where Monroe is.

FLASHBACK DONG! Luke jumps the last few steps of the fire escape and begins running across the desert. He reaches the ring-barked tree and stops for a moment, placing his palm against its dead truck. 

DONG! He senses movement behind him and turns; only to see 'ghosts' – visions of himself as a twenty-year-old, and the other subjects escaping as they did three years ago. He takes a deep breath and takes off again, running across the sand. He is silhouetted against the moon as he runs away.

PRESENT DONG! Luke makes it to the other side of the wide road and goes to run out into the rain. From behind the mini-waterfall created by the rain, a soaked Roschelle steps out, a gun in her hand.

DONG! Luke skids to a stop, the butt of Roschelle's gun grazing his chest.

DONG! Miss Monroe crosses the road, a smile on her face and JC at her heels. She grabs Luke by the collar and they stand eye to eye silently for a moment, the only sound being the falling rain. 

Haley and Weston come up and grab Luke by his jacket and drag him back across the road. They bundle him into the back on the van. Miss Monroe, JC and Roschelle also get in the back and slide the door closed as the car takes off. 

We are left with the ordinarily peaceful scene of rain falling around the bridge, with no indication of what has just occurred.

INT/EXT: PRODIGY APARTMENT/JUSTIN'S JEEP

Trinity sits in the passenger seat, staring out the window. Mercedes and Dina are dragging their bags out of the house. As they exit, Justin runs up the stairs back into the house.

MERCEDES

What are you doing?

JUSTIN

I'll just be a minute.

INT: LOUNGE ROOM

All the furniture has been covered with drop cloths and the room is looking very bare compared to before. Justin leans against the sofa, holding his cell to his ear. We CUT TO Miss Monroe, who is striding through a car park. She pulls out her phone and flips it open.

MISS MONROE

Yes?

JUSTIN

Good morning, Monroe.

MISS MONROE

Ah, good morning, Mr. Elusive.

JUSTIN

In a good mood, I see.

MISS MONROE

(reaching the elevator bank and pressing the call button)

I recaptured Luke last night. Why wouldn't I be in a good mood?

JUSTIN

(pause)

How did you find him?

An elevator arrives, making a 'ding' sound as the door opens. Miss Monroe steps inside and presses a button. The doors close.

MISS MONROE

Oh come on, you don't think we were naive enough to not see those messages in the newspaper. Then it was simple matter of going to the newspaper office and getting JC to tell the receptionist that he was you. There was an envelope each there for you, Dina and Mercedes. And we picked him up at eleven last night.

(she yawns)

Although I must admit it played hell with my sleeping patterns.

JUSTIN

(realising that the messages were for real, that he has allowed Luke to be recaptured.)

What are you going to do with him now?

MISS MONROE

I'm the retriever, Justin. You know, as in a Labrador or something? I find you and I hand you over. That's where my involvement ends.

JUSTIN

And you like it that way?

The elevator doors open and Miss Monroe steps out, walking across a central open space.

MISS MONROE

It makes things a lot easier, yes.

JUSTIN

(pause)

Why do you suppose they chose you?

MISS MONROE

(puzzled by the change of subject)

Chose me for what?

JUSTIN

To chase us. After three years they called you in. Didn't that ring any alarm bells?

MISS MONROE

I just figured that… that it was because of my father.

JUSTIN

And you really believe that?

MISS MONROE

(pause)

… What are you suggesting, Justin? That Calvin had some other motivation for getting me in?

JUSTIN

(grinning wickedly)

Who said it was Calvin?… Have a nice day, Miss Monroe.

Justin hangs up, smiling; but quickly becomes serious as he looks out the window at Trinity sitting in his car. 

Miss Monroe hears the beep tone and after a moment, leans the phone against her chin. Then, with a small, ironic grin on her face, she flips her mobile closed. As she comes to a corner, she pauses, then turns to the left. 

INT: LUKE'S CELL/SURVEILLANCE ROOM

Roschelle sits at her desk in the surveillance room writing as Miss Monroe enters.

MISS MONROE

Anything yet?

ROSCHELLE

He hasn't spoken since we brought him in.

MISS MONROE

Could… Would I be able to have a moment with him, face to face?

ROSCHELLE

(shrugging)

If you want to.

MISS MONROE

Great. Uh, would you, ah, take a walk? Five minutes?

ROSCHELLE

(pulling on her white coat)

I'll give you ten. I was getting hungry anyway.

Roschelle leaves the room, but Miss Monroe remains, watching Luke through the one-way mirror as he sits motionless on the stool in the middle of the room. The focus shifts and she finds herself looking at her own reflection.

INT: CORRIDOR/LUKE'S CELL.

Miss Monroe shows her ID badge to the Sweeper positioned next to the cell door, then punches in a code and the door opens. She steps inside and closes the door behind her, then walks closer to Luke. He doesn't turn to face her, so she walks around in front of him. He stares at her blankly, as if looking through her rather than at her.

Miss Monroe seems to be trying to say something very difficult. After a moment, she whispers, almost sadly.

MISS MONROE

What made you kill my father?

Luke is unresponsive. Miss Monroe repeats her question.

MISS MONROE

Why did you kill my father, Luke?

Luke is still spaced out and hasn't moved. Miss Monroe sighs and walks around him on her way out. As she reaches the door, Luke speaks. 

LUKE

Who am I?

Miss Monroe turns around to see that Luke is looking straight at her, a sad, confused; almost 'lost' look on his face. We reverse the shot and see Miss Monroe's own confused but thoughtful expression as the screen fades to black…

THE END

NEXT WEEK ON PRODIGY – **ALONE:** The Prodigies must rescue Uno from a high-security prison...


	13. 113 Alone

** FILE 1.13 – Alone  
(Written by Vokal)**

WIDE on Centre 16. It is night. Search lights scan the grounds, Sweepers and dogs also search the area. The desert rests still beneath the full moon.

CUT TO; Feet run across the desert. TILT UP to reveal Young Justin and Luke running across the desert. The are exhausted. 

** MUSICAL TRACK: '**Amy Hit The Atmosphere' by Counting Crows (click here to listen)

CUT TO; It is night and rain beats down on the pavement. We see Trinity walking down the street carrying a brown paper grocery bag.

She walks down the street, head toward the pavement. She passes an electrical store where 'Star Wars' is playing on the TVs on display. Trinity raises her hands up to the wet glass of the window.

CUT TO; Trinity is frozen in the headlights of a Sweeper's van during the escape.

Trinity twists the 'Forget Me Not' ring Luke bought her for Christmas around her finger. A tear rolls down her cheek.

CUT TO; Luke gives Trinity the ring as in '1.08 Ho Ho Who'

A car drives past and water spays on the sidewalk beside Trinity. She jumps back.

CUT TO; (As in '1.08 Ho Ho Who') Trinity has walked over to the sofa where Luke now stands. He put his arms around her comfortingly, and pulls her down onto the sofa as he sits, so that she sits on his lap. She leans her head in against his chest, and he strokes her hair with his hand. His holds her hand in his other hand, gripping it tightly, as though he is afraid of letting it go in case he might lose her.

Trinity opens the door to a townhouse and climbs the stairs. Each step seems a struggle.

CUT TO; Luke and Trinity are trapped underneath the elevator together as in '1.07 The last Night'

Trinity enters a room where Dina is asleep on the couch. Trinity puts the groceries down and opens the door into her own room. A purple stuffed dog is on her bed.

CUT TO; Luke wins Trinity a purple stuffed toy in '1.04 Survival'

Trinity closes her eyes, as if fighting back tears. She walks over to the bed and lies down beside the stuffed toy. As the music heightens, the rain beats against the window pain behind her. Trinity hugs the stuffed toy and begins to sob.

CUT TO; Seattle city skyline. Camera spins around the Space Needle, then moves fast down a city street, through a window of a third-rate motel. We close in on UNO, asleep in a bed. The moon filters through the window, illuminating his tattoo - 01, visible just above the sheet line. On the small desk in the room we see all his possessions - a laptop computer, a mobile phone, a half-eaten microwave lasagna, a box full of disguises and a novel 'The Count of Monte Christo'. Uno turns over in bed, before awaking with a start. We hear the screeching of car tyres outside. Uno rushes to the window, wearing only long black pants. Outside, he sees several military vehicles pull up.

UNO  
Great... Just great...

He pulls a shirt on, and takes off out the door. Uno runs down a hallway and onto a fire escape. It is slightly raining outside. He jumps onto the ground, and almost thinking he has gotten away, turns to leave, when suddenly a spotlight illuminates him. Several soldiers direct their weapons on him. 

SOLDIER 1  
Put your hands in the air!

We see a look of panic on Uno's face. He turns to run, but the soldiers immobilize him with electric sticks known as 'tazers'.

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

CUT TO; Wide on exterior of Centre 16, it is a bright, clear morning in Utah.

**Text On Screen:   
Centre 16  
Salt Lake City, Utah**

MISS MONROE (OS)  
It's sick!

CALVIN (OS)  
It's good strategy, that's what it is.

CUT TO; Calvin's office. Calvin is half turned to look out the window, Miss Monroe stands defensively on the other side of his desk, hands on hips. Calvin characteristically strokes his chin.

MISS MONROE  
But I thought Pretenders couldn't be turned, how do we know he won't betray us...?

CALVIN  
Thanks to the research of many of our affiliates worldwide, Miss Monroe, in recent years Centre technologically has progressed in proverbial leaps and bounds.

Miss Monroe characteristically narrows her eyes. Calvin smiles somewhat wickedly.

CALVIN (cont)  
Who better to hunt escaped geniuses, Miss Monroe, than a genius?

Miss Monroe continues frowning, obviously disgruntled.

MISS MONROE  
And I am just supposed to work alongside him, like... like nothing happened... Like he isn't a lab rat freak? ...like he didn't kill my father...?

Miss Monroe is almost pouting. Calvin dismisses her with a wave of his hand.

CALVIN  
While you're concerns are valid, Miss Monroe, I assure you, we have programs put into place just in case things do go awry... And YOU, Miss Monroe will do your job, so be it if that means smiling at the fiend who murdered your father. 

Calvin turns fully toward the window, signaling the end of the conversation. Miss Monroe storms out of the office, pushing the double doors open fall-force.

CUT TO; Roschelle's Lab. JC sits at a computer, not really paying attention as it scans documents. We see the bar on the screen reading 'scanning', it is moving very slowly. Roschelle is looking at something in a microscope, and then taking notes. Fallen walks in, a puzzled expression on his face. Roschelle looks up at him.

ROSCHELLE  
What's wrong?

FALLEN  
Review report just came in. Looks like both me _and_ Monroe are staying.

ROSCHELLE  
And that's bad how?

FALLEN  
No... just confusing. And apparently we are getting a new team member.

JC looks up, raising an eyebrow quizzically.

JC  
Who?

Fallen shrugs his shoulders

FALLEN  
I don't know...

At that, Miss Monroe enters.

MISS MONROE  
I do.

All attention is directed toward Miss Monroe.

MISS MONROE  
Our favourite circus freak, 07

They all look at her quizzically.

MISS MONROE  
Apparently he had a little visit at renewal wing.

JC  
I thought that...

FALLEN  
Pretenders were resistant...

ROSCHELLE  
Normally, but we're dealing with some experimental technology that may work.

MISS MONROE  
Wait up, 'may work'.

ROSCHELLE  
I had a feeling this might happen. I was asked to do a psychological work-up on the subject late last night. See if he'd crack and start remembering stuff...

MISS MONROE  
And?

ROSCHELLE  
Your guess is as good as mine. But we should try and avoid stimulus that may remind him of his life outside. So, don't call him 'Luke' or anything and he should be fine.

Roschelle doesn't seem to concerned. Miss Monroe does. Suddenly, the door opens again and once again all attention is directed toward it. Calvin enters with Luke, who is dressed in a suit, his hair combed - which is unusual for Luke. He has a slightly blank look about his face that sends shivers through the L&R team.

CALVIN  
Well team, this is your new man, 07, he should provide you with um... valuable... 'insight' into the situation and mindset of these escapees.

Miss Monroe walks toward Luke. He extends his hand out as if to give her a handshake.

LUKE  
Pleased to meet you.

Miss Monroe looks up at him, somewhat fearful, somewhat puzzled, as he seems to have no memory of her whatsoever. 

CUT TO; Justin, Mercedes, Trinity and Dina are sitting around the breakfast table. No-one is really eating anything and they are all sort of picking at their food. If there was a better word for 'high tension levels' than it would describe the scene perfectly.

MERCEDES  
So...

JUSTIN  
So...

TRINITY  
Hmm...

Dina shakes her head sadly. Justin stands up suddenly.

JUSTIN  
Well, I'm hitting the net, see if I can't rustle me up some information...

DINA  
Yeah, and me and Mercie are due down at the animal shelter, we better bounce as well.

MERCEDES  
Bounce?

DINA  
Get down with lingo, girlfriend....

Justin, Dina and Mercedes get up and leave. Trinity is still staring into her plate of cereal.

TRINITY  
Yeah, I'll be right here... (adds quietly) alone...

CUT TO; An animal shelter. It is busy, bustling with people and animals. Mercedes and Dina busy themselves with normal duties. Mercedes carries a cat over to a table and starts brushing it as Dina and Mercedes talk.

MERCEDES  
Do you think we should have left her there?

DINA  
Thing is, sista girl gotta work through this herself, you know, boo.

Mercedes looks at Dina weirdly.

DINA  
It's what my peeps say on TV, girl. I'm just trying to fit in, aiight?

Mercedes nods slowly, confused, but just accepting.

DINA  
Anyways, thing with Trinity is, well... she's not like you and me Mercie sugar, she different, and not just her empathy either. It's... something else. I dunno, but what I do know is she gonna come through this thang, and she gonna be aiight. We just gotta give her some time alone.

MERCEDES  
Yeah. I infer.

DINA  
Sugar, I think the word you looking for is 'guess'.

MERCEDES  
Whatever...

CUT TO; Trinity is in the apartment. She stands in the bathroom, wearing a towel wrapped around her, the mirror fogged up with steam. The shower drips nonchalantly. She sighs.

CUT TO; Uno wakes up in a dark cell. He rolls onto his side, wincing. He sighs. Standing up he walks over to the bars and holds onto them, yelling out.

UNO  
Hello? Hello? Great. Just great. 

We hear footsteps echoing down the hall, high heels. A woman enters, in her thirties maybe. We will know her as ANNABELLE. Flanked by two guards, she approaches Uno's cell.

UNO (sarcastically)  
Let me guess, speeding tickets? You know, you have to admire the dedication of the police force.

ANNABELLE  
My name is Annabelle, Mr...?

UNO  
Uno

ANNABELLE  
Mr... Uno, I am certain that your current incarceration has less to do with speeding tickets and more to do with you poking your nose where it just doesn't belong.

UNO  
So let me guess, you've figured out I'm not really with the FBI, and now you're all pissed off cos you think I know secret government information that you probably murder people over in order to keep it from getting out? Now you wanna know my contacts, who I'm working with and who else I've told, or else....

ANNABELLE  
Yeah, that's pretty much it.

UNO  
Great, just great.

CUT TO; Trinity sits alone on her bed. She is staring at the wall. She has a FLASHBACK

Young Luke and Young Trinity, about 5 years younger then they currently are, sit in a room with Calvin, and Roschelle, who is taking notes. They are looking through a two-way mirror. On the other side is a man, wretched looking, mumbling to himself, chewing on his hands.

CALVIN  
This man was locked in solitary confinement for 10 weeks.Before his incarceration he was a healthy man, sound mind, fit. What is it that made him break. Why'd he crack.

Luke and Trinity stare for a while, before Luke answers mechanically.

LUKE  
It is the inability to undertake or extrapolate upon common human needs such as communication and interaction.

Roschelle makes notes. Calvin strokes his chin.

Trinity stands, walks close to the glass, and places her hand gently on it. The man on the other side looks up, from his point of view we see a mirror. But he seems to see past it, and senses that Trinity is watching him. He stands.

TRINITY  
He can't feel anything.

She tilts her head to the side and closes her eyes.

TRINITY  
He can't touch, can't hear, can't smell, can't feel anyone near him.

The man has walked right up to the mirror and has placed his hand directly where Trinity's is, but on the other side. Calvin, Roschelle and Luke watch, awed and quizzical.

TRINITY   
(opening her eyes and looking into the eyes of the man)  
He felt so alone.

Trinity is stirred from her vision by Justin, who bursts into the room.

JUSTIN (urgently)  
Call Mercie and Dina, we got ourselves a problem.

CUT TO; Miss Monroe, Roschelle, JC, Fallen and Luke are in Roschelle's lab. They seem to be continuing a conversation.

LUKE  
It's just that seem to be following a pattern, that's all... It's not what I'd do... but...

MISS MONROE  
Yeah I guess helping the downtrodden just isn't your thing...

Luke looks at her quizzically, as if she has no reason to dislike him.

FALLEN  
Agent 7 could be onto something... I mean think about it, dilapidated warehouses, people in need...

MISS MONROE  
(spitting out her words)  
I think we've already established that pattern, Fallen. 

FALLEN  
But...

MISS MONROE  
(sarcastically)  
Or it could have been someone else who's spent the last 9 months rummaging through all the stuff they left behind... I mean, someone else who was dragged out here to Utah..

Suddenly, JC's computer beeps. All attention is focused toward it. JC smiles sheepishly as he turns toward the computer screen.

JC  
Dont' worry, it's probably nothing, you know, I'm just scanning the weirds on the net... See if anything unusual turns up... (makes a few mouse clicks) Like this...

MISS MONROE  
What is it?

JC  
(preoccupied reading the screen)  
Strange...

MISS MONROE  
JC, it's not like I'm renowned for my patience...

JC  
(catching on)  
Military convoy, Seattle, nabbed a guy from a roach motel. Funny thing is, the owner thought that more than one guy was staying in the room, cos so many people came and went. So he followed one of them, who went into the room, twenty minutes later, a different guy walks out...

FALLEN  
Sounds like

MISS MONROE  
A genius in disguise...

ROSCHELLE  
01

The team grab their jackets, JC his laptop, and head out the door, while Luke follows blankly.

CUT TO; Prodigies' apartment. Justin stands, Mercie and Dina lounge on the couch, while Trinity sits on her knees on the flloor.

JUSTIN  
I don't think we should all go.

DINA  
But, it's Uno. Our boy's helped us out of more than one jam.

MERCEDES  
(shaking her head)  
No, Justin's right. If we all go, we risk all of us getting captured. It's too dangerous, we need people here as a back-up.

JUSTIN  
I think Trinity and I should go, we may need her abilities.

Everyone looks to Trinity, who doesn't seem to be paying attention.

DINA  
Hey girl?

TRINITY  
Yeah, whatever...

JUSTIN  
Alright then. Mercedes, I can use you here on coms, if you don't mind. Just to keep yas in the know.

Trinity stands.

TRINITY  
Let's move out.

They all get moving.

CUT TO; An interrogation room. Uno sits at a chair in the Spartan room, whilst Annabelle sits across from him. two meat-heads stand at attention in the corners of the room.

UNO  
Like I said, I work alone, it's kinda my thing...

ANNABELLE  
What agency are you with?

UNO  
No agency... look, you're not gonna get anything outta me...

ANNABELLE  
We have ways...

One of the meat-heads shifts menacingly in his place.

UNO  
Can't tell what I don't know...

Annabelle has grown impatient... She glares at him

ANNABELLE  
Maybe a few weeks in solitary confinement...

UNO  
Won't do you good. I once lived in a place a whole lot worse than this with no-one to talk to for years. Compared to where I grew up, this place is the Hilton.

ANNABELLE  
I don't think you are taking this seriously.

She nods to the guards, they grab Uno by the arms, marching him out the door.

CUT TO; Uno is strapped down to a chair, and is injected with needles, a few different kinds. A laser is moved into position above his right eye, and is turned on. The laser flashes green, then yellow and then red. Uno begins to shake uncontrollably and spasmodically in the chair. His fingers grip the chair tightly, and we are aware he is in a great deal of pain. Annabelle walks close to the chair. The laser stops.

ANNABELLE  
(with a menacing grin)  
Now, Uno, you'll tell me what I need to know.

Uno spits at her, she shakes her head, and with a wave of her hand motions for an assistant to start the laser again. It does, and Uno shakes...

CUT TO; Trinity and Justin are on a plane. Justin is working on his laptop, while Trinity stares out the window. Justin sighs.

TRINITY  
(sensing the he is troubled)  
What's wrong?

JUSTIN  
Looks like this is going to be more difficult than I thought.

TRINITY  
How so?

JUSTIN  
According to my sources, Uno is being held at Gradoi...

Trinity gives him a blank look

JUSTIN  
It's a new top-of-the-range secure facility, not exactly a prison, but they do hold terrorists and high-risk prisoners there. The place is... well it's got a lot of security... 

Justin turns the computer to face Trinity, showing a blue-print layout of Gradoi.

JUSTIN  
We're gonna need to get past the electric perimeter fences. If we make it past those, we got at least a 5 minute run to the first watchtower, we'll be exposed, there's no cover. After the watchtower, we got guards with dogs, motion sensors, security cameras and big military type guys with large weapons.

TRINITY  
(studying the layout)  
Well, if you can do the tech stuff, I can take care of the guards with my chemically enhanced powers of persuasion. 

Justin gives her a quizzical look.

TRINITY  
Hmm, I'm getting better, you know, projecting my feelings or a feeling onto somebody else. (she smiles) Luke says it's like the 'Jedi Mind Trick'.

Justin laughs a little, and then notices the sad look on Trinity's face.

TRINITY  
You know for a minute then, I wasn't thinking about him. 

Trinity's eyes well up with tears.

JUSTIN  
He wouldn't want you feeling guilty and thinking abut him all the time. Trinity, you have to move on, be strong, for Luke's sake.

TRINITY  
How can I, when I don't even know of he's alive? If he's safe. What they're doing to him... Justin I can't sense him anymore, all I get is... nothing. But a nothingness I've never felt before, cold... empty...

Justin takes Trinity's hand and squeezes it.

JUSTIN  
He'll be alright, Trini, we'll get him out...

CUT TO; Seattle skyline. 

CUT TO; The L&R team are in a spacious office. Miss Monroe sits at a desk looking at the same blueprints on her laptop that Justin was just looking at. She looks up at Haley, Weston and Porter skeptically.

MISS MONROE  
And you think you can get in here.

Weston nods

WESTON  
With their help. (he nods toward Luke and JC)

HALEY  
We are also requesting back-up from Centre 54 Sweepers, ma'am.

MISS MONROE  
Well they let us use these offices...

JC  
(nervously)  
Wh... wha... what do you need us for?

WESTON  
Surveillance camera's, loop the feed, hack into security doors. You know, (with a sneer) geek stuff.

MISS MONROE  
(barking out orders)  
I'm coming in too... Roschelle can stay here...

Roschelle raises an eyebrow.

FALLEN  
What about me?

MISS MONROE  
(irritable, dismissive)  
Go back to Utah... whatever...

FALLEN  
Hell no, I'm gonna be there when you catch 01, you're not getting all the credit.

MISS MONROE  
Right then, come sunset, we move out.

CUT TO; The interrogation room. Annabelle sits at the desk, a tape recorder next to her. Uno is dragged in by the meat-heads. He is pale, sweating, his hair is messed, his eyes are red ringed and his veins where the injections were made are purple and swelled. He is propped onto the chair, barely able to sit.

ANNABELLE  
Now, Uno, ask yourself, are you going to tell me what I need to know, or are you going to have to be.. persuaded again...

Uno's glazed eyes twinkled defiantly.

UNO  
What were my options again?

ANNABELLE  
(dryly)  
I had forgotten how amusing you find yourself. Unfortunately, I don't want you to impress me with your wit, I want you to tell me who you're working with, how I can contact them, what you've told them...

Uno's eyes close slowly, and he forces them open again. He almost slides off the chair, but he grips the table, determined to stay strong. He is breathing heavy. Still, he laughs defiantly at Annabelle. Annabelle motions for the guards to take him.

ANNABELLE  
Just remember... I gave you a choice.

The guards drag Uno away again.

CUT TO; Uno is strapped into the chair again, the laser going. Annabelle stands nearby. She watches him closely. The assistant holds a clipboard tightly.

ASSISTANT  
I've never seen anyone resist this amount of... well.. it's a guaranteed method of information extraction.

ANNABELLE  


He'll talk soon or later...

CUT TO; Seattle city skyline. A FAST shot of the sun setting. Justin, dressed in long black pants, a black beanie and a black turtleneck sweater, and Trinity, dressed in black leather pants, black leather gloves, and a black sweater with her long dark hair braided down her back, step out of a black SUV. Justin pulls a black knapsack out of the car. Trinity puts an earpiece in her ear.

TRINITY  
Can you guys hear me?

CUT TO; Dina and Mercedes at the Animal shelter. It is night and most of the animals are asleep, the fluorescent lights overhead hum softly. Mercedes and Dina sit at a stainless steel workbench, with various equipment spread out in front of them. Dina sits at laptop, a satellite image of Gradoi on the screen.

MERCEDES  
Loud and clear. You alright?

TRINITY  
Yeah, we're just getting set up. Justin is trying to hack into the satellite feed, loop the security cameras...

JUSTIN  
We've got a problem...

TRINITY  
What's wrong...?

JUSTIN  
The cameras are already in loop. (he looks around) Someone else is already here...

CUT TO; Haley, Porter, several unknown Sweepers, Miss Monore and JC arrive at a perimeter fence. Haley clips several objects that look like jumper cables in circular pattern on the fence. A light on a device she is holding in her hand turns from red to green. She nods to Porter, who cuts around inside the jumper cable circle, and removes the piece of wire fencing. The group climb through.

CUT TO; At what we assume is another location on the fence, we see Luke, Fallen, Weston and several other unknown Sweepers finishing off the same process. They also move out.

CUT TO; Dina is watching a satellite picture. She sees several figures, what we assume is the L&R team, running toward the watchtower. 

DINA  
(into her com unit)  
Justin, we got movement. I can only guess at who it might be...

JUSTIN  
The L&R team.

MERCEDES  
Justin, I don't like this... I think you should pull out...

TRINITY  
(grabbing Justin's arm)  
No way... we not leaving anyone behind again...

JUSTIN  
Trinity's right, Uno's one of us...

MERCEDES  
Then be careful...

JUSTIN  
(with a grin)  
Always...

CUT TO; Annabelle is in the room with Uno, who is still being tortured. A lab tech walks in. Annabelle looks up.

LAB TECH  
I've got the DNA work-up on the imposter you asked for, ma'am.

The Lab Tech seems as though he wants to say something else.

ANNABELLE  
And?

LAB TECH  
And there are some anomalies...

Annabelle walks closer to the Lab Tech. She looks at the folder he holds, and raises her eyebrows.

LAB TECH  
He doesn't exist. There is no record of him anywhere. But what's more is... his DNA. It's... Well, there are a few anomalies present and I'd like to run further test. And it seems as though his blood has been chemically altered in some way...

ANNABELLE  
(almost to herself)  
What does this mean?

LAB TECH  
It means he's not your average run-of-the-mill terrorist or government agent...

Annabelle looks thoughtful.

ANNABELLE  
Catalogue his DNA... it could be useful... You can run the extra tests later...

Annabelle walks out the door, the Lab Tech follows.

CUT TO; Luke, Fallen, Weston and their team run across the open space between the perimeter fence and the watchtower.

CUT TO; Inside the watchtower, the guard sees them, and turning to his surveillance equipment, realizes that they aren't showing up on the cameras. He picks up the phone, but hears a dead tone on the other end. He reaches for his com unit, but only a static comes through.

GUARD  
Damn it...

CUT TO; JC inside the perimeter fence, sits besides his computer. his team wait with him.

JC  
I've jammed all their coms. They shouldn't know we're coming.

MISS MONROE  
Alright then, move out...

The team run toward the watchtower.

CUT TO; Inside the watchtower, the guard fumbles with some keys. He gets the door open, but is greeted by Luke, who punches him out.

FALLEN  
(to Luke)  
Nice job..

Luke looks impressed with himself

CUT TO; Justin and Trinity wait by the fence. 

JUSTIN  
Go, now!

Justin and Trinity sprint, Justin carrying the knapsack, to the facility. 

CUT TO; Inside the watchtower, Miss Monroe's team join Fallen's. Fallen sees Trinity and Justin sprinting.

FALLEN  
Monroe!

Miss Monroe and her Sweepers run out the door again.

CUT TO; Justin and Trinity are running, they see Monroe and the sweepers exit the watchtower.

TRINITY  
(to Justin, who is behind her)  
Hurry!

Justin and Trinity reach the facility. They trace the wall until they find a door, Dina guides them on the coms.

DINA  
Go left, there's a maintenance door. It's only got one guard inside.

Trinity and Justin follow her directions, reaching the door. Justin a fake clearance card into the control panel, and the device attached to it begins deciphering the code. Trinity looks anxious.

CUT TO; Miss Monroe and the team arrive at the facility's walls. She makes hand signals, signaling for the team to split and go in opposite directions. Haley takes some Sweepers one way, while Miss Monroe, Porter and JC with two other Sweepers go the way Trinity and Justin went.

CUT TO; The code is finished and Trinity and Justin open the door. The guard on the other side looks stunned. He checks his security camera feed, but nothing appears. trinity touches his arm and looks into his eyes.

TRINITY  
It's alright.

The guard nods slowly, a puzzled look on his face.

Trinity and Justin sprint down the corridor, Trinity turns back to the guard for a brief moment.

TRINITY  
And by the way... don't let anyone else through...

JUSTIN  
(into the coms)  
Right, we're in, where to now?

DINA  
Right, just follow that corridor, after that, you're on your own, I couldn't find out where they were holding him.

TRINITY  
It's alright, I know, I can sense him. (to Justin, worriedly) He's in pain.

Trinity and Justin continue running.

CUT TO; Miss Monroe's team approach the door. JC repeats the process Justin went through. Once inside, the guard tries to stop them. One of the Sweepers muscles him to the ground. Miss Monroe looks about, trying to decide which way Justin and Trinity would have gone.

CUT TO; Annabelle is in an office, one we presume is her own. She is on the phone.

ANNABELLE  
(into phone)  
Yes sir.. (pause while person on other end talks) I understand, but the unique opportunity to study... (pause while person on other end talks) Yes sir, I agree we should move him to the labs... (pause while person on other end talks) Yes sir.. (pause while person on other end talks) But... (pause while person on other end talks) A tattoo? (pause while person on other end talks) Yes sir, I will be sure to check for distinguishing marks. (pause while person on other end talks) Yes sir... (pause while person on other end talks) We'll keep in touch...

Annabelle places the phone down, looking pensive.

One of the meat-head guards walks in the door. Annabelle looks up.

ANNABELLE  
What?

GUARD  
Ma'am, we think there may have been a security breach at the Gradoi Facility...

ANNABELLE  
What do you mean 'think'?

GUARD  
WE are unable to confirm the presence of unauthorized personnel on the security cameras, ma'am

ANNABELLE  
(getting worried)  
Where is he?

GUARD  
Who?

ANNABELLE  
Uno?

GUARD  
Still being interrogated ma'am.

ANNABELLE  
Sound the alarm, and get me my car, I need to get back over there.

CUT TO; Trinity and Justin run down another corridor. Trinity directs the way. She stops suddenly, and backs against the wall. Justin follows suit. A guard walks past, dressed military get-up. He turns and spots them, goes to raise his gun, but trinity darts over to him, kicking him in the chest. The military guy catches her foot, twisting her around. She crashes to the ground. Justin rushes over, attempting to punch the guard, but is soon felled. Trinity leaps to her feet, then attacks the guard, knocking him unconscious.

JUSTIN  
(a bit breathless as he gets to his feet and picks up the guards gun)  
What happened to the powers of persuasion?

TRINITY  
Oh, I persuaded him... with my fist.... (looking down the corridor) This way...

CUT TO; Trinity and Justin enter the room where Uno is strapped to the chair. they take out the lab Techs. Trinity rushes over to Uno's side, un-strapping him from the chair. The laser was already off. Justin comes over and helps Trinity pull Uno to his feet.

TRINITY  
(to Uno)  
Get up, Uno...

They drag him to his feet. Uno is drugged out, barely able to stand.

UNO  
I didn't tell them anything...

JUSTIN  
It's alright...

Trinity and Justin, half dragging, half pulling Uno out the door, enter the corridor, only to come face-to-face with Luke, Fallen and their Sweepers.

UNO  
(mumbling slightly incoherently)  
Great, just great. You call this a rescue...

Trinity stares at luke.

TRINITY  
Luke...?

FALLEN  
Hands in the air, there's nowhere to go from here.

Luke looks back at Trinity.

TRINITY  
Luke it's me, Trinity...

LUKE  
Trinity...?

JUSTIN  
(to Trinity, eyeing all the guns directed at them)   
Now would be a good time to use those powers of persuasion.

TRINITY  
I'm not a tap you know, I can't just turn them on and off.

The Sweepers move toward Trinity, Justin and Uno.

Trinity stares at them.

TRINITY  
Put down your weapons.

The sweepers put their weapons on the ground.

TRINITY  
Leave us.

The sweepers leave. A look of puzzlement crosses Fallen's face.

TRINITY  
(in answer to Fallen's silent question)  
A product of my years at The Centre. You can leave too...

A blank look crosses Fallen's face, and he walks away. Trinity focuses her attention on Luke.

TRINITY  
Luke, put down your gun, it's me...

LUKE  
I don't know you...

TRINITY  
Yes you do... (motioning to Justin and Uno) You're one of us...

LUKE  
(absolutely certain)  
No I am not...

Luke raise his weapon to point directly at Trinity's head. he guard Justin and trinity knocked out earlier stirs behind them, distracting luke and giving Justin enough time to force the gun out of his hands and punch him. Luke falls to the ground.

JUSTIN  
Sorry buddy...

As he hits him across the back, knocking him unconscious. The alarm begins to sound, and trinity, Justin and Uno head out of there.

CUT TO; Fallen meets Monroe and the team at the perimeter fence.

MONROE  
We got out when the alarm went off, Weston told me you found them...?

FALLEN  
Yeah...

MONROE  
Then why aren't they in chains beside you, begging for their freedom?

FALLEN  
(puzzled)  
I don't know...

MONROE  
Where's 07?

FALLEN  
I don't know...

Monroe, looking infuriated, motions to two sweepers behind her.

MONROE  
Get back in there and bring out our boy...

She scowls at Fallen.

MONROE  
I'll meet you at the van.

CUT TO; Justin, Uno and trinity climb into the SUV and take off into the night.

CUT TO; Early sunrise, Annabelle walks into the facility, a grim look on her face as she sees injured guards fixing themselves. She sighs and looks out at the sunrise.

CUT TO; The prodigies' apartment. Trinity sits out on the balcony, swirling a cup of coffee around. It is late afternoon and she is dressed in the same thing she had on last night. Uno approaches.

TRINITY  
Hey

UNO  
Hey yourself...

TRINITY  
How ya feeling?

UNO  
Good, yeah. A full days sleep did me good. Thanks for staying with me, you know, I was a bit out of it...(a little uneasy) Look, I'm sorry about Luke, I know you two were...

Trinity smiles feebly.

TRINITY  
He wasn't the same person, Uno. When he looked at me... Just hate, you know? It's alright. I know Luke's gone now, I can move on.

She looks sad, but quickly changes the subject

TRINITY  
So, genetic research, why were you investigating that?

UNO  
Well, I thought it could help us find a cure for the Tarquin Insanity, you know, fudge with genes... whatever. 

Trinity notices a bag beside Uno.

TRINITY  
You leaving?

UNO  
Yeah, you know me... (he looks at her thoughtfully) I tell you what, I thought I was a goner... I thought I was alone...

Trinity looks into the apartment and sees, Mercedes, Justin and Dina watching TV. She looks back to Uno and smiles.

TRINITY  
So did I...

Uno takes one of her gloved hands in his and squeezes it tightly before walking away. Trinity raises her hand and takes one of the gloves off. We see her looking as the ring Luke gave her. She has a FLASHBACK As in 1.08 - Ho Ho Who?

Trinity opens the box to reveal a silver ring and pendent, decorated by small silver flowers with tiny diamonds as their centres. (CLICK HERE TO VIEW) Trinity looks up at Luke, a smile spread across her face and tears almost welling in her eyes.

TRINITY  
It's beautiful...

LUKE  
They're 'forget-me-not' flowers, so that we'll always...

Trinity finishes his sentence

TRINITY  
...remember each other...

Trinity stands up and walks over to Luke, who also stands. She looks into his eyes, her emotions clear. Luke takes her head in his hands, gently he touches his nose to hers, his hands still holding Trinity's head, as their lips draw closer. 

LUKE  
(Just above a whisper)  
I could never forget you... 

And they kiss.

FLASHBACK 'Alone'

Trinity stares at luke.

TRINITY  
Luke...?

FALLEN  
Hands in the air, there's nowhere to go from here.

Luke looks back at Trinity.

TRINITY  
Luke it's me, Trinity...

LUKE  
(as if he doesn't know her)  
Trinity...?

Trinity stirs from her flashback, looking sad and distant.

TRINITY  
(whispering to herself)  
I could never forget you...

THE END


	14. 114 Phantoms

** FILE FOURTEEN – Phantoms  
(Written by Vokal)**

FLASHBACK 

INT: A BALLROOM

In a ballroom, we see Grace and Malcolm Monroe dancing, Malcolm goes to touch his wife's cheek affectionately, but she turns her head away. Leaning against a wall talking to some older-looking men we see Calvin. This is clearly some sort of Centre function. Underneath one of the banquet tables, Miss Monroe ~ 7 years old, and her little brother Damon, are piling cakes into a napkin.

INT: A CORRIDOR NEARBY

We see Grace and Malcolm come into view. Grace is angry. Malcolm grabs her wrist roughly, pulling her toward him.

GRACE  
Malcolm, this is wrong.

MR MONROE  
Grace, you don't know what you're talking about....

GRACE  
I know enough. You took these kids, you stole them, their homes, their families...

MR MONROE  
In the interests of humankind... and The Centre... with their gifts...

His words aren't convincing her.

GRACE  
(reluctantly)  
I can't just let this be, Malcolm...

Grace goes to stalk away. Malcolm grabs her arm, but she shakes him off and walks away. As the camera PANS OUT, we see Young Miss Monroe standing at the end of the hallway, napkin full of cakes in her hand. We see that she is wearing the sapphire bracelet, and that both her and her mother are wearing the same thing as in Miss Monroe's flashback in '1.06 - Black, White...' She looks on, confused.

INT: MISS MONROE'S OFFICE

Miss Monroe, sitting in her office, is stirred from her thoughts by Mr Fallen, who bursts into the room without knocking. Miss Monroe characteristically narrows her eyes.

FALLEN  
Monroe, I got a question...

MISS MONROE  
(dripping with sarcasm)  
And I have nothing better to do than answer it...

Fallen smiles.

MISS MONROE  
You know what the thing I hate about you is, Fallen?

Fallen's smile increases in size and he laughs slightly. Miss Monroe raises her eyebrow quizzically.

FALLEN  
I am shocked....

MISS MONROE  
Shocked...?

FALLEN  
Shocked that there is only one thing you hate about me. I would have thought you had a list of grievances, possibly numbered...

Miss Monroe gives him her characteristic 'death stare'. Fallen chuckles.

MISS MONROE  
And at the top of that list is the fact that you DON'T KNOCK!

Fallen looks thoughtful for a second, and then shakes his head.

FALLEN  
Nup, got nothing for that one. Chalk me up an IOU for one sarcastic, smart-ass remark.

MONROE  
What _do_ you want, Fallen...?

INT: CREEPY CORRIDOR

Fallen and Miss Monroe stand at the entrance to Justin's old living space. They stand at the door, Monroe peering through the small glass window in the thick steel, one hand resting on it's cold reality. We follow her gaze into the cell, and we see that it is still decorated with the mural of the carnival Miss Monroe had drawn on there when she was a young girl, as in '1.06 - Black, White...' Miss Monroe has a FLASHBACK

YOUNG JUSTIN  
It looks incredible...

MISS MONROE  
It is, and it is lot's of fun. We should go sometime, me and you...

Justin smiles.

JUSTIN  
I was talking about the picture. You're very good.

MISS MONROE  
I'm going to be an artist when I finish school

JUSTIN  
What's an artist?

Young Miss Monroe smiles, and pushes Justin playfully.

Suddenly, we hear the sound of heavy footprints outside. Miss Monroe turns sharply and the door to Justin's living space is pushed open. We see Calvin enter absent-mindedly, staring at a folder he holds in his hand.

CALVIN  
06, we're ready for you now in Simulation Lab 8...

He glances up from the folder and sees Miss Monroe in the room. He glances around at the walls. A stern look crosses his features, mixed with a trace of fear. As quickly as it had appeared, Calvin's expression disappeared, and his face becomes blank. He strokes his chin in thought. The two young teens stare at him confusedly, frightened.

CALVIN  
(coldly)  
Stand up, 06.

Justin stands immediately. Miss Monroe glances up at him.

CALVIN  
Move away from the subject, Miss Monroe.

Miss Monroe looks at him blankly. Calvin swallows, concentrating on staying calm. At that, Mr Monroe enters the room. He sees his daughter and a cold look enters his eyes. With a wave of his hand, he motions to two orderlies behind him. They enter.

MR MONROE  
Take the subject to Examination Room 17, have him... debriefed.

The two orderlies move forward and take hold of Justin's arms roughly. Justin moves without struggle, but glances back in Miss Monroe's direction. We follow his gaze to see Mr Monroe stalk over to her, pulling her roughly to her feet. She yelps pain as Justin's concerned eyes drift over the scene. He begins to struggle.

JUSTIN  
Don't hurt her, don't hurt her!

FALLEN  
Miss Monroe!

Miss Monroe is shocked back into reality by Fallen's voice.

FALLEN  
What do you think it means?

Miss Monroe breaks her gaze into the room, turning to face Fallen. She feigns a smile.

MONROE  
Just some kid with too much time on their hands...

FALLEN  
According to Centre records this was Subject 06's living space up until 1988, when he was transferred and this room was used as some sort of specimen study evidence.

MONROE  
Okay, so it's not important anymore, Fallen, why don't you just drop it?

MR FALLEN  
Miss Monroe, in case you haven't noticed, we haven't had much luck capturing these freaks, we've got to know what makes them tick...

Miss Monroe leans in toward fallen, her faces only mere inches away from his. She looks at him menacingly.

MISS MONROE  
Drop it, Fallen...

She quickly recomposes herself, and turns her back on him, marching away typically. Fallen looks as though he may be on to something... Curiosity killed the cat, they say...

INT: THE PRODIGY APARTMENT OF THE WEEK

Dina is cooking dinner, stirring something over the stove. She is humming an R&B tune as she bops along to the music in her head. The camera moves out the window, and our attention is drawn to the streets below. 

EXT: STREET - LATE AFTERNOON

We see a street bum glance up at the window, pull out binoculars and sees Dina through the window. He pulls out a cell phone and dials.

STREET BUM  
Sir, I have a confirmed sighting. pause Yes sir, I will continue surveillance pause We'll be in touch...

He puts the cell away and looks grimly up at Dina's window...

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

EXT: CITY STREETS - LATE AFTERNOON/DUSK

** MUSICAL TRACK: '**Mystikal Fever' by Mystikal (click here to listen)

**Text On Screen:   
Las Vegas, Nevada**

Trinity rides Luke's old motorcycle through the streets at high speeds. Wearing her leather and with a long braid down her back, she dodges traffic and people. She enters the street below their apartment, and slows her bike. Suddenly, she has a VISION

The street bum guy bursts through the apartment door, gun in hand, followed closely by Agent Cade of the FBI and several other men we assume are agents. Dina turns, shocked, from the table she is setting.

Trinity has now pulled her bike to a complete stop, and is looking slightly bewildered. She searches the streets with her eyes frantically, until they rest upon the agent posing as a street bum. Trinity closes her eyes. VISION

Trinity waits by the ring barked-tree. She has her eyes closed. Dina appears. She looks at Trinity confusedly. Agent Cade appears behind Trinity. Dina's eyes widen in shock and fear.

INT: THE APARTMENT

Dina drops the spoon she was holding and goes to head out the door, pulling her jacket on as she leaves.

EXT: STREET

Trinity drives her motorcycle over in front of the apartment block. She turns and looks back at the street bum. Their eyes meet and he looks away, pulling out his cell phone as he turns his back. Trinity revs her bike and then heads straight toward him. She narrowly misses hitting him, but kicks a leg out as she goes past and knocks the phone from his hands. He pulls a gun.

STREET BUM AGENT  
Stop! FBI

Trinity does a wheelie as she turns her bike to face him. Their eyes lock as she revs the bike. The agent swallows hard. Trinity heads straight toward him. The agent opens fire, but misses Trinity. He jumps to the side as she hurtles past the spot where he would have been standing. Trinity laughs and then drives by the entrance to the apartment block just as Dina rushes out the door, hopping onto the back of the bike as they speed away. They both turn back with victorious smiles plastered across their faces as they see the agent standing in the middle of the road, firing shots that never connect with them. Their victory is short-lived, however, as they notice a road block consisting of police cars and several unmarked cars we assume belong to FBI agents in front of them. 

DINA  
It was a trap...

Dina looks worried, but a plan is formulating in Trinity's mind. She glances over to a fallen plank of wood leaning against a rubbish bin to one side of the road block. She smiles.

TRINITY  
It's not over yet.

She revs the bike once again. Agent Cade steps out from behind the road block.

CADE  
There's nowhere to go...

Trinity speeds toward the fallen plank, driving up over it and jumping the road block. Dina holds on tight, squeezing her eyes closed. The agents and police open fire on the girls as they are in midair SLO MO. A bullet hits Trinity in the upper arm. She lets go of her grip on the bike and it goes sideways, crashing to the ground. Dina jumps off before the bike before it skids along the ground. Trinity gets caught underneath it as it continues to slide. Dina hurts her ankle as she lands. Trinity tries to free herself as she sees the bike is going to crash into a brick wall. The agents approach. Trinity does an army roll from underneath the bike just as it crashes into the wall, exploding, the explosion pushing Trinity against the wall. Trinity bounces off the wall with her feet, martial-arts style, and hits the ground running toward Dina. She tries to help Dina up, and they both turn to see agents and police closing the distance between them.

DINA  
Use 'The Force', Trinity

TRINITY  
(breathless and hurt)  
There's too many of them

Trinity and Dina drag themselves through a broken window into a derelict building, using it's darkness to conceal themselves. They sprint madly about the building, trying to escape their pursuers who are now close behind them. 

INT: CENTRE 16

Miss Monroe is talking to Rhoda when JC bumbles up beside her, his face revealing his nervousness. Miss Monroe turns to him.

MISS MONROE  
What?

JC  
Miss Monroe, we've just got a, ah... (eyes Rhoda wearily) lead on the subjects.

With importance, Miss Monroe turns her back on Rhoda.

MISS MONROE  
Spit it out little man...

JC  
They're back in Las Vegas... I've been listening to the police scanner, apparently the FBI are on to them...

MISS MONROE  
Great. Exposure, that's all I need. Fire up the jet, JC

IC  
Yes ma'am.

Miss Monroe and JC leave. Rhoda, looking suspicious, picks up her phone and dials.

RHODA  
(on phone)  
Sir? pause Yes sir I have good news. The subjects have been located in Las Vegas, Nevada. pause Yes sir, I will give you more information when I have it. pause Thank-you, Captain.

INT: THE DERELICT BUILDING

Cade is the first agent to reach Dina and Trinity. He sees them cowering in a dark corner and points his gun at them

CADE  
No-one has to get hurt if you just come with us now...

A menacing grin crosses Trinity's face.

TRINITY  
(as she jumps to her feet and takes a fighters stance)  
Wrong, you're gonna hurt... A lot.

Trinity kicks his arm and the gun goes flying. She kicks him in the chest and he goes flying to ground. Standing over him, she grabs him by the shirt and pulls him to his feet.

Dina has retrieved the gun, and points it at Cade's head.

TRINITY  
See, we're not really big fans of guns, what with me just getting shot and all... But they seem to be less of a problem when they're pointed at you...

CADE  
Look, I know you girls didn't really shoot up Spencer and his men, if you come along quietly, we can sort this all out

DINA  
You know what? That just doesn't work for me...

TRINITY  
Yeah, we got a problem with confined spaces and bars, you know, stems from our childhood...

CADE  
Then they're not gonna let you out of here alive, they'll shoot at you the second...

TRINITY  
Yep, but they won't shoot at you

DINA  
(with a smile)  
You're our hostage...

TRINITY  
How does it feel to be at the other end of a gun, pal?

Cade rolls his eyes in dismay. We hear the sounds of other agents searching for them.

Two agents, with their guns ready and flashlights in hand, search the area.

AGENT 1  
Agent Cade? Sir?

Dina's hand rests delicately on the trigger as she digs the gun into Cade's side.

CADE  
(yelling to the other agents)  
They're not down this way, check the roof...

The agents move off.

Trinity pulls a cell phone out from her jacket. She dials.

TRINITY  
Justin? It's me. We're in trouble...

INT: CASINO

Justin is on the phone in the casino. He is dressed as a card dealer.

JUSTIN  
Just let me know where you want me to pick you up...

INT: Miss Monroe enters Fallen's office. It is barely furnished, with just a single desk where Fallen is sitting, concentrating on his laptop.

FALLEN  
Monroe?

MISS MONROE  
Got a lead, you coming?

FALLEN  
(shaking his head)  
Hmm? No, I've got some stuff to do here...

Miss Monroe raises an eyebrow quizzically and suspiciously... 

FALLEN  
Take Agent 7... You should do fine on your own...

MISS MONROE  
What are you up to, Fallen?

FALLEN  
You know, Miss Monroe, if we're ever gonna catch these subjects, we've got to learn to trust each other. Now I trust you, Monroe, implicitly, you have got to trust me. Am I wrong to put my trust in you?

MISS MONROE  
Do whatever you want, Fallen, it doesn't worry me.

She stalks out of his office. As she leaves we CLOSE IN on a screen image on Fallen's computer. It is of Miss Monroe in Justin's living space when they were 13, like a still from a DSA. Fallen looks grim. He ejects the DSA tape from his computer, and then prints off a copy of the photo. As Miss Monroe exits his office, we see a worried look on her face.

INT: THE DERELICT BUILDING - SUNSET

Trinity, Dina and Cade sit in silence. Trinity takes her jacket off and inspects her wound. She winces as she touches it. She holds up her leather jacket and notices the hole in her sleeve. She gives Cade an evil glare. Suddenly, Dina's watch beeps.

DINA  
Okay, it's time, we got to move to the roof.

Trinity nods and they all stand up, Dina still aiming the gun at Cade.

EXT: THE ROOF

Trinity, Dina and Cade emerge onto the roof. We hear the sounds of the ongoing search below, police sirens, com units etc... It is almost completely dark, but the two agents on the roof notice them. 

AGENT 2  
Freeze!

Trinity, Dina and Cade stand still while the agent reaches for his coms. 

Trinity works her empathy on the agents.

TRINITY  
The suspects aren't up here. You haven't seen them anywhere. They may have moved to a different building.

The agent repeats this into his coms.

AGENT 2  
The suspects aren't up here. We haven't seen them anywhere. They may have moved to a different building.

The two agents move away. Cade looks at Trinity with a mixture of fear, wonder and question. She ignores this look. They move to the side of the roof. We see Justin's jeep pull up below. Justin waves up at them. Cade climbs down the fire escape first, with Justin, Dina and Trinity watching him closely... Trinity and Dina follow.

EXT: STREET NEAR AFOREMENTIONED DERELICT BUILDING WHERE FBI HAVE SET UP A BASE OF OPERATIONS OF SORTS - NIGHT (he he he, a bit long, I know:)

The two agents from the roof approach Agent Quain. He glances up at them.

AGENT QUAIN  
Any sign of Cade?

AGENT 1  
No Sir...

AGENT QUAIN  
(shaking his head)  
He was the one who thought they were innocent... They're only hurting themselves by hurting him...

AGENT 2  
Sir?

AGENT QUAIN  
They've got him, they have to have... (switching to official mode) I want road blocks throughout this entire district. Notify nearby airfields and bus stations. They are not getting out of this city...

INT: PETE'S AUTO

Mercie's legs stick out from underneath the car she is fixing. An older man, with a receding hairline and a beer belly calls out to her from his office.

PETE  
Mercedes, you know you don't have to stay back here, that one's not a rush job...

MERCIE  
Nah, it's all good Pete, I'm heading home soon

PETE  
Well don't forget to lock up, and make sure you leave the sign on at the front...

MERCIE  
Okay... Say Pete, can you turn that up?

We hear the radio get louder. 

** MUSICAL TRACK: '**My Neck, My Back' by Khia (click here to listen)

Pete leaves via a backdoor. Mercedes slides out from under the car, and heads over to the tool box, putting some tools in. She bounces around to the music as she tidies up.

EXT: INDUSTRIAL STREET OUT FRONT OF SERVICE GARAGE 'PETE'S AUTO'.

The gang pull up out the front of Pete's Auto. Cautiously, they step out of the car. Dina, concealing the gun behind Cade's back, nudges him forward.

INT: PETE'S AUTO

Mercedes is about to turn off the lights when the gang come busting into the auto shop. A limping Dina walks in with Cade at gunpoint, Trinity is pale and very ill from her wound, and is helped in by Justin. Mercedes is momentarily stunned, but her prodigy training soon kicks into action. She rushes over to Justin and helps him with Trinity. They clear a workbench and Trinity lays down on it. Taking off her jacket, Mercie inspects the wound. Dina marches Cade over to a sitting place and ties him up with some plastic cord that is laying around. She joins Mercie and Justin. Trinity is looking worried as the three observe her wound. Mercedes picks up some sort of tool that resembles a pair of large tweezers.

MERCEDES  
Luckily I excelled in Medicine and Emergency Op...

TRINITY  
(eyeing the tool)  
That should be comforting, but strangely I find that it's not...

Cade watches from where he sits. Behind him we see him dialing a number on his cell phone, even though his hands are still tied.

EXT: FBI BASE OF OPERATIONS

Quain's cell phone rings. He picks it up and answers.

AGENT QUAIN  
Hello? silence Hello?

We hear Dina's voice come softly through the other end.

DINA  
(over phone)  
There's no exit wound, so the bullet is still in ya arm, we're gonna have to get it out before it migrates...

INT: PETE'S AUTO SHOP

TRINITY  
(sarcastically, in pain)  
Yeh, I figured that

CADE  
I can help...

DINA  
Agent Cade, you can stay...

EXT: FBI BASE OF OPERATIONS

Quain listens to his phone...

DINA  
(over phone, continued)  
where you are...

Realization crosses Quain's face. He motions to another agent passing him

QUAIN  
I want a trace on this ASAP!

A thoughtful look crosses his face.

INT: PETE'S AUTO SHOP

Mercedes has got a welding tool and is firing the tweezer-looking tool she had before to make it hygienic. She walks over to Trinity, who takes a deep breath. In PULSES we see Mercedes removing the bullet, Trinity in pain, Justin holding her hand, and Dina giving evil looks to Cade.

TRINITY  
(screaming)  
Ahhhhhhhhhh!

Cade closes his eyes, looking and feeling guilty. 

MERCEDES  
(as she removes the bullet)  
Right, I've it! Now we're gonna need to cauterize... 

TRINITY  
(moaning in pain)  
Oh great...

Dina approaches with a metal square that has three ridges on it.

DINA  
This is all I could find...

MERCEDES  
That's gonna leave a scar...

TRINITY  
(in pain)  
Does it look like I care?

Dina uses the welder to heat the metal square. Mercedes places it over Trinity's wound. She bites down hard on her lip and we see her grip Justin's hand tightly. Justin raises his free hand and places it gently on Trinity's forehead.

JUSTIN  
(soothingly)  
It's alright

EXT: NIGHT - PRIVATE AIRSTRIP

Miss Monroe, JC, Roschelle, The Sweepers and Luke step off the C16 jet and onto the tarmac. 

INT: BUILDING ON AIRSTRIP

Miss Monroe briefs the team, pointing to a map. JC is on the computer.

MISS MONROE  
Sources indicate that the subjects were last sighted in this 10 block region of inner Las Vegas. The FBI have set up road blocks so they're not getting in or out without us knowing it. Only problem is, this also risks exposure. Although our principle goal is to reclaim the subjects, we must do so without alerting the feds to our presence...

JC interjects.

JC  
They've got 'em!

MISS MONROE  
What?

JC  
Well, not 'got 'em' in the sense of actually having them in custody but...

MISS MONROE  
(impatiently)  
JC...

JC  
But they've got them surrounded...

MISS MONROE  
Where JC?

JC  
An auto shop within the quadrant... I'm getting the exact location now...

MISS MONROE  
Do it on the move, we're going...

The team get on their feet and head out the door, JC bumbling with his laptop as he leaves.

EXT: STREET OUTSIDE PETE'S AUTO SHOP

The police and FBI have gathered around the auto shop. Agent Quain pulls up in his car and steps out. 

AGENT QUAIN  
(to another agent who we recognize as the street bum guy)  
How's the situation stand?

STREET BUM AGENT  
Heat sensors indicate that there are 5 people inside, assuming that one is agent Cade based on the cell phone trace, that makes four unfriendlies. No contact has been made at this point.

AGENT QUAIN  
Okay, assume that they're hostile - real hostile. 

STREET BUM AGENT  
Yes sir...

The two agents go their separate ways. Near the blockades, we see some people have gathered around. We see two men who look suspicious and the camera CLOSES IN

SUSPICIOUS MAN 1  
(on cell phone)  
Yes sir... Our people are in position.

THE CAPTAIN  
(voice on phone line)  
I'm in the area, I'll take this one myself...

SUSPICIOUS MAN 1  
(on cell phone)  
But sir...

THE CAPTAIN  
(voice on phone line)  
The time for covert operations and secrecy is over. We must get these subjects first... before The Centre.

We see the side of The Captain's face as he holds his own cell phone to his ear. We see from the background that he is near the blockades.

THE CAPTAIN  
These Feds have no idea what they're dealing with...

The Captain hangs up his phone and we see the back of him as he walks away. He is wearing a suit.

INT: PETE'S AUTO SHOP

Trinity sits against the wall looking sick and in pain. She is watching Cade closely. Dina stands guard also. Justin reenters the main room. the energy is tense.

JUSTIN  
We got feds galore out there. No way are we making it out if here in one goddamn piece.

Mercedes is looking out a window. We follow her line of sight as three black, unmarked vans pull up. She sighs.

MERCEDES  
We got sweepers!

Mercedes rushes back over to the others. Cade looks confused. Justin looks to Mercedes.

JUSTIN  
Is there any other way outta here?

MERCEDES  
(shaking her head)  
A back door, but they'd spot us...

CADE  
What the hell are Sweepers?

DINA  
No time to explain...

Justin and Mercedes are searching for a way out. Dina looks over to Trinity who groans in pain.

DINA  
You OK?

TRINITY  
Well I'm not gonna die, if that's what you mean...

Mercedes, in desperation, joins Dina and Trinity, Justin follows.

MERCEDES  
(desperately)  
There's no way out... we're trapped.

EXT: STREET OUTSIDE PETE'S AUTO SHOP

Miss Monroe and the team step out of their cars near the barricades, but far enough out of the way not to get noticed.

MISS MONROE  
(Eyeing all the Feds and Cops)  
Damn! Not much we can do while they're smack in the middle of every Fed this side of Utah.

WESTON  
We'll maintain watch...

MISS MONROE  
We can't let those Feds get a hold of those subjects...

JC  
(at his laptop in the car)  
I've got the blueprints up...

Luke goes over to JC, and, looking over his shoulder, analyzes the blueprints. JC looks nervous as usual. Luke points to the screen.

LUKE  
Underground storage facilities here and here, probably used to store toxic chemicals. They lead right into the basement... We've got 'em.

Miss Monroe smiles victoriously. Weston motions for the team to move out. JC grapples with his computer as he follows.

INT: PETE'S AUTO SHOP

Cade's cell phone rings.

CADE  
(sarcastically)  
Should I answer that?

Dina snatches the phone away from him.

DINA  
Talk...

QUAIN  
(on phone)  
Who am I talking to...

DINA  
(irritated)  
Someone whose got your badge buddy down here with a gun to his head, so listen up...We want a van, unmarked with a full tank of gas at the front of the shop in 20 minutes. You screw up, I'm gonna shoot him, aiight? 

QUAIN  
(on phone)  
I'll see what I can do...

Dina hangs up the phone. Mercedes looks at her, quizzical.

MERCEDES  
What's with the van?

DINA  
Well, that's what they always ask for on TV...

MERCEDES  
There's no way they're just gonna let us drive out of here...

JUSTIN  
We know, all we really need is time...

DINA  
To figure this bitch out and make sure none of us get our asses shot up... or worse

JUSTIN  
There has got to be another way out of here... A friggin mousehole would even be useful... anything...

MERCEDES  
Wait, there may be a way...

EXT: STREET OUTSIDE PETE'S AUTO SHOP

We see a man approach Agent Quain, his identity in shadows. CLOSE in as they talk, the man's back always to the camera. He speaks in a distinctive Australian accent. It is The Captain.

THE CAPTAIN  
(flashing a badge at Quain)  
General Enselmo, Department of Defence. (he takes out a bit of paper and hands it to Quain) I have orders to take over this operation...

QUAIN  
With due respect, Sir, I have an agent in there, my partner, and I'm not leaving until we get him out. So you can take your DOD badge and flash it somewhere else...

THE CAPTAIN  
(pointing to the papers)  
Need I draw attention, Agent, to the specific orders given to you by your superiors to relinquish your command, and full support for and authorization for my taking up the position... 

QUAIN  
General Enselmo, I already have men in position...

THE CAPTAIN  
No need, I'm bringing in my own team..

EXT - NIGHT: Some way away from the barricades, the L&R team open two large, rusty metal doors resembling a bomb shelter. They shine their flashlights down and we see several drums stacked in the space.

MISS MONROE  
Let's go...

INT: PETE'S AUTO SHOP

Mercedes and Justin screw the lid off a large metal pipe laying horizontal across the basement floor, just big enough for a person to lay down in. Dina and Trinity look on, with Dina holding the gun at Cade.

Trinity leans in and smells the pipe.

TRINITY  
It smells like Gasoline in there...

MERCEDES  
These used to pump gas run-off and stuff into the sewers when this place was a gas station. Pete had to say they were filled in seeing as how they're illegal, so they don't show up on any of the building plans. We're the only ones who know about them...

JUSTIN  
It's the only way...

Trinity climbs in first, wincing as she is forced to use her sore arm, and slowly pulls herself along the pipe. Justin and Mercedes follow. Dina motions for Cade to get in the pipe. he looks quizzical.

DINA  
We might still need you... Let's move...

Cade gets in the pipe, followed by Dina, who pulls the lid on as she goes.

EXT: STREET OUTSIDE PETE'S AUTO SHOP

The Captain's team, led by the two suspicious looking men, break down the front door to Pete's Auto Shop. Waving guns and flashlights about they search for the subjects. The Captain follows behind them. 

INT: THE SEWERS

We see someone knock the lid off the pip end in the sewer. Trinity emerges. The subjects crawl out of the pipe into the sewers, covered in streaks of Gasoline and sweat. They all look exhausted, but Justin manages a smile.

JUSTIN  
We made it... (motioning toward Cade) Leave him here and let's go home...

CADE  
Who are you people?

DINA  
We're the hunted... and now, you're just another one of the hunters... (she hands him back his cell phone) Welcome to the chase... 

The prodigies disappear into the darkness of the sewers. Cade turns his cell phone and realises he has no service. We CLOSE IN on his ironic and confused smile.

INT: PETE'S AUTO SHOP

Drawn by a noise, the team moves to the basement door. Guns poised, they await movement. Suddenly, the L&R team, burst through the door, their guns also at ready. The two teams are momentarily stunned, shock evident on everyone's face. Miss Monroe emerges from the back of her team, at the same time The Captain emerges from his. they stare, stunned, at each other for a few seconds. We CLOSE IN on The Captains face. He is Mr Monroe. We see a confused look on Miss Monroe's face...

MISS MONROE  
Daddy?

THE END

**NEXT WEEK ON PRODIGY:- 'Where The Heart Is' - **After Uno locates Dina's family, she must decide on the course of her future...


	15. 115 Where The Heart Is

** FILE FIFTEEN– Where The Heart Is  
(Story by Vokal, Screenplay by Jak and Vokal)**

WIDE on Centre 16. Morning.

**Text On Screen:   
Centre 16  
Salt Lake City, Utah**

Just inside the building, at the security scanners, we see Mr Monroe enter with a briefcase in his hand and dressed professionally in a suit. He smiles politely at the secretary, who smiles back. Mr Fallen passes him.

MR FALLEN  
Morning, Sir

MR MONROE  
(nodding in greeting)  
Good morning, Fallen

Miss Monroe stalks over to him.

MISS MONROE  
We need to talk

MR MONROE  
Well, you know sugar plum that I've been busy, what with just having gotten back and everything...

MISS MONROE  
You're avoiding me...

MR MONROE  
Maybe...

MISS MONROE  
Daddy I've got questions...

MR MONROE  
That will be answered in due time...

Miss Monroe, usually strong and direct, accepts this response from her father. It is clear that she feels powerless around him. He strolls past her and smiles. Miss Monroe looks contemplative.

INT - ROSCHELLE'S LAB

JC walks over to Roschelle's lab fridge, housing blood and DNA samples and other scientific equipment and takes out some jam. Roschelle is examining a sample on the computer. The calendar beside her reads 'April 2002'

ROSCHELLE  
I don't know why he's returned, JC, but I do know it's probably best if we just stay out of the way for a while, and give Miss Monroe some space...

JC sits down again, in his usual casual posture, and takes a piece of now toasted bread off the top of a Bunsen Burner and spreads some jam on his toast.

JC  
Well, if he's up to something I think we will need Miss Monroe's help...

ROSCHELLE  
JC, he's her father...

JC  
Which means there's a definite possibility that he's a vicious, cold-blooded...

At that moment Mr Monroe enters the lab, JC covers for himself by changing his tone from serious to cheery and takes another bit of toasted bread off the burner...

JC  
Piece of toast?

Mr Monroe narrows his eyes at JC

MR MONROE  
Doctor, how are the tests on Prodigy Subject 07 coming along?

ROSCHELLE  
Sir, it appears that the subject has continued to function normally while he was on the outside without chemical therapy or any other biochemical alterations... This supports my theory that other than the Tarquin Insanity, there are no other major side-effects of the Chem-enhance program the subjects underwent.

MR MONROE  
Good, and the reindoc?

ROSCHELLE  
Flawless so far, Sir.

MR MONROE  
(rubbing his hands through his hair)  
Good, I'd like to step-up his involvement in locating the rogue subjects. I want you to expose him to some stimuli, let him get a feel for the subjects...

ROSCHELLE  
(looking wary)  
Sir, has that been authorized by Calvin?

MR MONROE  
(harsh, firm)  
I'm authorizing it...!

ROSCHELLE  
Yes sir...

Mr Monroe leaves, JC and Roschelle exchange glances.

INT - PRODIGY APARTMENT

Justin sits at his computer, rubbing his hands through his hair wearily. He sighs. Trinity leans over his shoulder and studies the screen.

JUSTIN  
There's just no way in, I'm sorry...

TRINITY  
We've gotten in before, we've gotten out before...

JUSTIN  
Which is probably why they stepped up security...

TRINITY  
We can't just leave him there Justin...

JUSTIN  
After reindoc, there's no way we can be certain Luke will want to leave

Trinity looks at Justin thoughtfully

TRINITY  
I know. Believe me I know. But the last thing Luke would want is to be doing The Centre's bidding. Being their lapdog...

Mercedes appears behind them

MERCEDES  
But if he won't leave...

Trinity looks at Mercedes knowingly, Mercie trails off...

JUSTIN  
What are you saying?

TRINITY  
You know what I'm saying... 

EXT - AFTERNOON

Uno sits alone at a park bench. He has in his hands copies of 'The Red Files', looking at them intently. He looks up suddenly at the sound of children playing. We follow his gaze to two children across the road playing in the yard of a typical suburban house. An African American older girl and younger boy are playing ball. A beautiful but sad woman, Carla appears in the doorway, her elegant frame leaning against the door. She smiles as she watches her children play.

Carla  
Come clean up! I've made cookies!

The children squeal in delight and run into the house. Carla lingers in the doorway, her sad eyes searching the horizon. She sees Uno and smiles politely, Uno smiles back, a hint of sadness lingering in his own smile. He closes Dina's file.

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

EXT - COFFEE SHOP - DAY 

Text on Screen:

_ Lachlan County,  
Virginia_

DINA (VO)  
Are you serious?

INT - COFFEE SHOP - DAY

A home-style café. Several customers wait at the counter to order, while a few couples sit at the tables scattered around the room. We CLOSE IN on DINA and UNO, who sit at a table toward the back of the shop.

UNO  
Do you think I'd joke about something like this?

Dina takes a shaky sip of the coffee in front of her.

DINA  
(hushed)  
You really found them?  
(choked)  
You found my family?

Uno nods, and smiles.

UNO  
...Yeah.

DINA  
How?

UNO  
There was a lot of stuff to sift through... but I checked your Centre files again, and then tried to match the details to missing persons' cases. I had some help... but it paid off, Dee. 

DINA  
(staring into space, unbelieving)  
I just... I kind of thought that it was never gonna happen. After everything that's happened…

UNO  
The important thing is, that they want to meet you soon.

DINA  
(excited)  
I want to meet them! Where are they?

UNO  
Dee, I have to tell you something. I - I've talked to your mother, and - 

DINA  
(interrupting)  
- What's her name?

UNO  
(annoyed at interruption)  
What?

DINA  
What's my mother's name?

UNO  
(Sighs)  
Her name is Carla. Look, I asked her if she wanted me to arrange a meeting. She said yes, but - 

DINA  
(interrupting)  
She said yes! My Mom wants to meet me!

UNO  
Listen to me, Dee! She said that she couldn't handle it if her daughter was to just turn up and get acquainted, only to turn tail and run off.

DINA  
... What do you mean?

UNO  
I think you have a big decision to make, Dina. You can stay with the team, or you can meet your family. But you can't do both.

DINA  
What do you mean, I can't do both! You guys are my family too! I can't just abandon all of you...

UNO  
Look at it from her point of view. She lost you twenty years ago. I don't think she likes the idea of meeting you - getting to know you - and then losing you again. 

SHOT on DINA, looking worried, upset 

CUT TO: WIDE on CENTRE 16 EXTERIOR

LUKE (VO)  
Can you tell me how to get to the Prodigy Storage Room?

INT - HALLWAY - DAY

Luke is talking to a janitor, who leans against his mop. Luke stands straight and tall, the words "Prodigy Storage Room" taking on a strange tone, as if he's not quite sure what they mean.

JANITOR  
Yeah, you take the elevator down two floors and it's the haunted house on your left.

The Janitor starts to walk away. Luke calls after him.

LUKE  
(confused)  
Haunted House?

JANITOR  
(over his shoulder)  
You'll know it when you see it, kiddo.

Luke stands still for a moment, puzzled. He shakes his head, then walks away.

INT - SUBLEVEL CORRIDOR - DAY

It may be day, but down here it's quite dim. The elevator doors open and Luke steps out, turning to his left. A sign on the double door reads "Prodigy Storage Room - Authorised Personnel Only". Luke fumbles in a pocket for a moment, before withdrawing a cardkey. He slides it through the cardreader beside the door carefully, and a green lights flashes as the red one disappears. Luke pushes the door inward, and steps into the Storage Room.

INT - PRODIGY WING TECH ROOM - DAY

JC sits at a desk, working on a partly-constructed computer. A beep tone sounds, and JC looks over at his laptop, which sits on another desk. Frowning, he pushes against the desk, sending his chair across the room toward the laptop with him in it. We see him read the screen, his eyes widening. He fumbles for a desk phone, dials an extension number. We HEAR the buzz tone as the phone rings.

JC  
(to himself)  
Come on, Come on...

INT - PRODIGY STORAGE ROOM - DAY

Luke enters cautiously and walks through the empty space to an area of the room full of boxes. He reaches for one.

INT - MISS MONROE'S OFFICE - DAY

Monroe sits at her desk, laptop sitting to one side, her phone ringing as she reads something from a file folder. She sighs and picks up the phone.

MONROE  
Yes?

INTERCUT with JC in the TECH ROOM

JC  
Miss Monroe? Your computer on?

MONROE  
When is it not?

JC  
There's a minimised bar flashing at the bottom of the screen. Click on it.

MONROE  
Where is this going? I have things to do.

JC  
Click on it!

MISS MONROE leans forward, grabs her mouse and clicks, a window that looks like a spreadsheet opens up on her screen.

JC  
It's a log.

MONROE  
I can see that. The reason for the fire alarm?

JC  
That's the log for the card reader that opens the door into the Storage Room.

MONROE  
The Prodigy Storage Room?

JC  
Yep.

MONROE  
(leaning forward, squinting at the screen)  
And you're panicked because...

MONROE/JC  
That's Luke's keycard.

PAUSE. Then...

MONROE  
Damn! Get down there now.

MONROE slams down the phone.

INT - PRODIGY STORAGE ROOM - DAY

Luke singles out a box and moves it into a clear area, before picking up a crow bar and prying the lid open. He grunts with the effort, but finally it comes off. Luke kneels next to the open crate and is reaching in to pull something out when the door behind him opens sharply. He looks over his shoulder to see Miss Monroe and JC enter.

MONROE  
What are you doing down here?

LUKE  
I need to get a feeling for them, if I'm to find them. 

MONROE  
(wags her finger)  
Oh, no you don't. Up you get. Go on.

Luke stands obediently.

MONROE  
Report to Roschelle immediately.

LUKE  
But - 

MONROE  
Do I look like I'm gonna wait here all day? Move it!

Luke turns and starts toward the door without delay.

MONROE  
And don't come down here again without authorisation! That's an order, L- Seven.

Luke pauses at the doorway, turns back to face Monroe.

LUKE  
Yes, Ma'am.

INT - PRODIGY APARTMENT - DAY

Uno's room, one so messy you'd hardly believe he's only been there a few days. He sits at his computer, but his cell phone starts ringing. He leans over the desk, starting avalanches of paper, fast-food wrappers and clothes as he searches for it. He finds it on the fourth ring, and presses "Yes" as he brings it to his ear.

UNO  
Hello...   
(Pause)  
Oh, hey, Carla! How're you going?  
(Long Pause)  
Yeah, look; she's thinking about it -   
(Pause)  
I mean, she's thinking about it! It's a tough decision!  
(Pause)  
I know you want to meet her, but -   
(Pause)  
Look, call me if you want to set a place to meet. I'll talk to her. Yes, I will. Okay. Alright. Bye.  
(Hangs up, begins to murmur to himself)  
I should've known playing Prodigy-Family Reuniter wouldn't be as fun as I thought...

A KNOCK on his door.

UNO  
Yeah?

Dina pushes the door open, pokes her head in.

UNO  
Hey

DINA  
Hey

UNO  
What're you up to?

DINA  
(shrugs)  
Nothin' much. Justin and Trini are totally focused. Mercie's working on the car.

UNO  
She loves that car.

DINA  
Mmmm. So... who was that?

UNO  
(playing dumb)  
Huh?

DINA  
On your cell.

UNO  
Oh, that was, uh... it was - it was your Mom.

DINA  
Why didn't you call me? 

UNO  
Stipulations.

DINA  
Oh yeah, right. So what did she say? 

UNO  
She can't figure out why you're taking your sweet time, and she wanted me to talk you into going 'home'.

DINA  
And what did you say?

UNO  
I said I'd talk to you.

DINA  
And?

UNO  
I didn't promise anything. This is your decision, Dee.

DINA  
(sadly)  
I know.

UNO  
So take all the time you need.

DINA  
(nods)  
I think I'll get out for a bit of air, okay?

UNO  
Sure. See ya.

DINA  
Yeah, see ya.

We see Uno's lingering look as Dina leaves the room.

LUKE  
I just don't understand things anymore.

INT - ROSCHELLE'S LAB - DAY

Luke sits on a stool facing Roschelle, who leans back in a plastic armchair. A silver tape recorder stands on the table between them.

ROSCHELLE  
What kind of things?

LUKE  
Everyday, I walk around here and I see things I know I should know - things I'm sure I should comprehend. But I don't.

ROSCHELLE  
Can you give me any specific examples?

LUKE  
Well, just before I was down in a storage room, and I found things that reminded me... reminded me of my past...

Roschelle leans forward.

ROSCHELLE  
And?

LUKE  
(confused, inner turmoil evident)  
I saw faces...

We see FLASHES of the other Prodigies: Justin, Trinity, Uno, Dina, Dec, Mercedes. They flick in rapid succession. 

Luke shakes his head.

ROSCHELLE  
Whose faces do you see?

FLASHES of the other Prodigies again. This time they settle on Dec, the "C16 Butcher" (FILE 1.06 - Black, White and the Many shades of Gray).

LUKE  
A man... a man called Dec.

This time we are treated to Roschelle's own flashbacks of this episode.

FLASHBACK: 1.06 - Black, White and the many shades of Gray (BWatMSoG)

ROSCHELLE  
I deserve it

MISS MONROE  
(not quite sure she heard right, not understanding)  
Sorry?

ROSCHELLE  
I deserve to die...

A GUNSHOT sounds

MISS MONROE  
What was that? (the gunshot)

ROSCHELLE  
Someone else is here...

END FLASHBACK

Roschelle bows her head, closes her eyes, takes a deep breath. After a moment, she speaks again.

ROSCHELLE  
What do you remember about Dec?

LUKE  
He was subject Ten.   
(pauses)  
And he killed people. A lot of people...

Luke stops, takes a few long, deep breaths.

LUKE (cont)  
I stopped him... I can't remember how, but I did.

In QUICK FLASHBACKS we see it was actually Justin and Luke who defeated Dec together.

LUKE (cont)  
...Is this my purpose, Roschelle? To make up for them? To stop all of them from killing?

ROSCHELLE  
(Unsure how to respond to this)  
I'm not sure myself. It could be. You used to belong with them, you know; but now you belong here. You do understand that?

LUKE  
(nods)  
I'd do whatever I needed to to stop them, Roschelle. Everything. (he pauses) Anything.

A KNOCK at the door interrupts the conversation and we catch a glimpse of the relief on Roschelle's face.

ROSCHELLE  
Come in!

CALVIN enters.

CALVIN  
Is this a bad time?

ROSCHELLE  
No, of course not.

CALVIN  
(taking stock)  
Alright then.  
(turns to Luke)  
Agent Seven, would you excuse us please?

Luke stands, and leaves the room without another word. Roschelle's eyes follow him to the door.

CALVIN  
What was he doing here?

ROSCHELLE  
Miss Monroe found him down in the Prodigy Storage Room. She was worried that he saw something that would bring back memories of his life on the outside. (shrugs) So she sent him to me.

CALVIN  
And?

ROSCHELLE  
Remember the time Ten was on the loose? Running around killing people?

CALVIN  
(dryly)  
How could I forget?

ROSCHELLE  
That's what he remembered. He must have found the archived material from the day they came to my house...

Calvin clears his throat.

ROSCHELLE (cont)  
He had memories of stopping Ten from hurting Monroe and I. He's come to the conclusion that it's his job to stop the other prodigies from hurting people.

CALVIN  
If he believes that of one of his fellow escapees...

ROSCHELLE  
He may well think they're all dangerous, and ready to kill.

CALVIN  
What can I say? Every little bit helps.

ROSCHELLE  
Then perhaps you should be congratulating Malcolm. He authorised me to expose Seven to stimuli that might bring back memories of his life outside.

CALVIN  
(incredulous)  
What?

ROSCHELLE  
(dryly)  
I didn't think he'd talked this out with you.

CALVIN  
You went ahead without checking with me?

ROSCHELLE  
I didn't do anything, I was going to talk to you about it. In the meantime, he got down there by himself.

CALVIN  
Or someone told him where to go.

ROSCHELLE  
(nodding)  
My thoughts exactly.

CUT TO: Malcolm walking briskly through Prodigy Wing's main corridor. He pushes open the door to his office, only to see Calvin standing behind his desk, looking out over the desert. Calvin starts to talk without looking back at Malcolm.

CALVIN  
You take long lunch breaks, Malcolm.

MALCOLM  
What can I say? The lunch line was long today.

CALVIN  
The lunch line, or the queue for seats at Orlandika's, in the city?

MALCOLM storms forward, furious, and plants his hands shoulder-width apart on his desk, leaning over it.

MALCOLM  
You presume to follow me around, Calvin?

CALVIN  
I wasn't aware I was presuming anything.

MALCOLM  
I still hold power at this organization, Calvin. I don't like the insinuation that you're spying on me.

Calvin finally turns around to face Malcolm.

CALVIN  
Who said anything about spying? You simply have the look of a man who is still savouring the taste of Gnocchi Pesto.

Malcolm shifts uncomfortably, we get the impression that Calvin is spot-on.

CALVIN (cont)  
However, I didn't come here to discuss your eating habits.

MALCOLM  
What did you come here for?

CALVIN  
To tell you what you did this morning was ridiculously stupid.

MALCOLM  
What I did this morning?

CALVIN  
You gave authorization for Luke - Seven - to go down to the Storage Room.

MALCOLM  
And?

CALVIN  
He found his own way down there, and pried open a crate that contained archived material relating to an event that occurred last year. 

MALCOLM  
And?

CALVIN  
My point is, Malcolm; you meddled in things that weren't your concern. And I give you fair warning, don't do it again.

Malcolm starts toward the door. Calvin turns to face him.

MALCOLM  
Or else?

CALVIN  
(turning to face Malcolm)  
Or else what? I don't make threats, Malcolm, you should know that after all these years.

MALCOLM leaves the office.

CALVIN  
(sighs)  
Like father, like daughter.

EXT - PRODIGY APARTMENT - EVENING

TRINITY (VO)  
We can't just give up!

INT - STUDY - EVENING

Justin sits in front of his computer, typing idly with one hand. Trinity paces like a caged lion behind him.

JUSTIN  
Trini, we've exhausted every avenue. I think they've finally found every single way we've got in and out of there; and they've blocked them all off.  
(begins to tick items off on his fingers)  
They've reinforced fire doors, bolted hidden access hatches, double-barred air-conditioning vents, and -   
(pauses)

TRINITY  
And what?

Justin hands her a printoff.

TRINITY (cont)  
They've started locking the front door?

Justin nods, trying to contain the mirth threatening to break lose.

JUSTIN  
They've always had a night guard, but only recently have they started really securing the front. 

TRINITY  
It's hard to make a secret entrance when video cameras catch everything that sneezes within a mile radius of the front door.

JUSTIN  
That is why we've always gone out the back.

TRINITY  
Of course.

UNO interrupts from the doorway.

UNO  
I can't believe this.

Trinity and Justin turn toward him.

JUSTIN/TRINITY  
Believe what?

UNO  
I'm listening to you two discuss how to get into a secure facility, correct?

TRINITY  
Yeah.

UNO  
And, for clarification, I am listening to two of the smartest people in the world, am I not?

JUSTIN  
Get to the point, Uno.

UNO  
What exactly do the people in this building do everyday? What do they want to do more than anything else?

TRINITY  
(shrugs)  
Catch us and drag us kicking and screaming back to C16 so they can exploit our genius for another twenty or thirty years?

UNO  
Exactly.

JUSTIN  
(realising what Uno means)  
... Uno, it's beautiful!

Uno nods in agreement.

TRINITY  
What?

UNO  
Strategy 101. If the enemies' battleground is too well fortified, what do you do? 

JUSTIN  
You lure them into yours.

TRINITY  
You mean, we leave a trail for them to follow, and lie in wait for them to track us down?

UNO  
In layman's terms.

TRINITY  
(rolling her eyes)  
Thanks.

JUSTIN  
I can't believe we didn't think of it before.

UNO  
(dryly)  
Neither can I.

JUSTIN  
We should get right on this.

TRINITY  
Start tomorrow.

At that, Dina walks into the room. She has a firm expression on her face.

CUT TO: INT - PRODIGY APARTMENT LOUNGE ROOM - EVENING

Dina stands in the centre of the room. Justin sits on a sofa, Mercedes beside him. Uno sits back-to-front on a wooden chair, his hands resting on the top of the back of the chair; while Trinity leans against the doorframe in the background, hands crossed over her chest.

There is a heavy feeling in the air, like something big has just been revealed.

MERCEDES  
So, you're going?

DINA  
(nods)  
I... I just feel that this is a big chance, guys. To get to meet them after all this time...

JUSTIN  
I understand. I'm sure we all do.

DINA  
I would stay if I could.. but I have to do this, I have to know... what could have been...

MERCEDES  
It's okay, we know. 

The room lapses into silence again. Finally, Uno speaks up.

UNO  
Well, at least we don't have to put up with your cooking anymore.

Dina tries to scowl at him, but she quickly dissolves into giggles. Then Mercedes starts, and soon they are all laughing - even Trinity has a smile on her face.

DINA  
My cooking isn't that bad.

UNO  
(wisecracking)  
Yeah, but it wasn't exactly what you'd call gourmet.

DINA  
I'd like to know what you live on whenever you're not with us.

UNO  
(affecting a grand manner)  
The only things men are supposed to live on, Dina - Oreos, Twinkies and Donuts.

A sadness settles after the laughter subsides.

TRINITY  
So when are you going, Dina?

Everyone falls silent, waiting for her answer. Dina nods toward Uno.

DINA  
Uno's set up a meet for me. Tomorrow lunchtime.

MERCEDES  
(jumps up)  
What! Tomorrow! No, you can't!

DINA  
Why?

MERCEDES  
Well... well, because - because... cause we haven't given you a...   
(she pauses)   
a going-away dinner - yeah, a going-away dinner!

DINA  
(shrugs)  
It's okay, Mercie.

MERCEDES  
(desperate)  
No, it's important! We have to have one! 

Mercedes jumps up and heads toward the kitchen.

UNO  
Where're you going?

MERCEDES  
I'll start making something... it isn't too late...

DINA  
Mercie, it's okay! Let's just order in!

Mercedes pokes her head into the lounge room from the kitchen.

MERCEDES  
No! I have to do it properly!

Mercedes promptly disappears into the kitchen again. She picks up a pot and grips it tightly, leaning against a wall, she slides down it and starts to sob softly.

WIDE on CENTRE 16 - NIGHT

The lights of Centre 16 are bright against the darkness of the surrounding desert 

INT - PRODIGY WING MAIN MEZZANINE - NIGHT

Miss Monroe walks across the open area toward the elevators. She presses the call button impatiently, and checks her watch. A voice speaks from behind.

JC  
In a hurry?

Miss Monroe spins around in surprise, but calms when she sees who it is.

MONROE  
I have plans.   
(pause)  
What are you doing running around at this time of the night?

JC  
(indignant)  
It's not like I have a bedtime or anything, you know.

The elevator arrives, the doors open. Monroe moves to walk in. JC grabs her arm to pull her back, holding up a piece of paper.

JC (cont)  
I found something. Something big.

He trusts the paper into her hands. Monroe begins to skim-read as she talks.

MONROE  
JC, I don't care if you found something that would cure cancer. I'm tired, I want to get home, I want to...   
(she stops reading and looks up at JC)  
Where did you get this?

JC  
(Self-satisfied)  
I helped myself to the archives and cross-referenced a few things with some interesting stuff I saw in the newspaper this evening.

MONROE  
And...

JC  
If the analysis is right... we've found them.

Miss Monroe pauses.

MONROE  
Where's Fallen?

JC  
Signed out of the building over five hours ago.

MONROE  
(Dismissive)  
Typical. What about everyone else?

JC  
Everyone's gone. Calvin left at six o'clock, and Roschelle left at six-thirty with your father.

MONROE  
With my father?

JC  
They logged out one right after the other.

Miss Monroe pauses to think. After a few seconds, she tucks the paper under her arm, and presses the call button again. The doors open immediately, and she steps in.

MONROE  
I'm going home, and you're going to bed. Get a good night's sleep. I'll be here early in the morning.

JC  
How early?

The elevator doors start to close.

MONROE  
Good night, JC!

The doors close. JC presses the button, but the doors don't open as the car descends. He bangs on the steel doors a few times before turning away

EXT - PRODIGY APARTMENT - DAWN

INT - PRODIGY APARTMENT LOUNGE ROOM - DAWN

The gray light seeps into the room around the edges of heavy curtains. The Prodigies lie asleep on the floor, entangled in blankets, pillows, bedspreads, and sleeping bags; while in the background we see the remains of the previous evenings' meal - the table is laden with dirty plates, empty soft-drink and wine bottles, as well as Chinese-food boxes. Justin and Mercie lie back-to-back, while Trinity lies in a sleeping bag near their feet. Uno lies sprawled beside her. The light patterns change, and we see Dina standing at the window, a blanket around her shoulders. She pulls the curtains apart a bit, and looks out apprehensively. Uno approaches silently behind her.

UNO  
Are you okay?

Dina jumps at the sound of his voice.

DINA  
Yeah.

UNO  
Are you sure?

This question seems to have a double meaning. After a moment, Dina answers.

DINA  
Yes.   
(turns to face Uno)  
I have to do this, Uno.

UNO  
You don't have to do anything.

DINA  
But if I don't, I'll always wonder. I can't think of anything worse than having the chance, and turning it down.

UNO  
I know what you mean.

Dina looks up at Uno gratefully.

DINA  
Have I thanked you? For doing all this for me?

UNO  
You don't need to.

DINA  
Well, thanks anyway...

She shrugs. Uno smiles.

Dina turns away, looking out the window again. Uno turns also, and they watch the sunrise together.

CUT TO: EXT - AIRPORT RENTAL GARAGE - EARLY MORNING

Text on Screen: _Lachlan County Airstrip_

Miss Monroe stands beside a black sedan. JC stumbles toward her, rubbing his eyes.

JC  
(mumbling)  
When you said early, you really meant early, didn't you?

JC gets into the car, and Miss Monroe turns; coming face to face with Luke, who has approached silently. He nods a greeting and moves to get into the car.

MONROE  
No, you're in the van, with Weston.

Luke nods again, and walks toward the black van, where WESTON and HALEY are already waiting. He gets in the back. Miss Monroe nods to Weston, who starts the car and begins to pull out. Miss Monroe gets in the car with JC and speaks to PORTER, who sits behind the steering wheel

MONROE  
Let's go!

Porter starts the car and follows the other car out of the garage.

EXT - QUIET NEIGHBOURHOOD - DAY

Your 'typical' suburban neighbourhood - green lawns and nature strips, bright flowers, a few kids playing in the background. Uno and Dina sit in a car outside a house. Dina takes a deep breath.

DINA  
Well, this is it.

UNO  
I'll walk you to the door.

DINA  
No, you don't have to do that.

UNO  
Yes I do.

Neither of them move.

DINA  
You're not gonna miss me, you know.

UNO  
Yes we are.

DINA  
Nah, Justin'll rope you all into one of his quests, and one day you'll say, "Hey, where's that girl who used to run the computers around here?" and someone'll say - 

UNO  
"Who, Dina"? I doubt it.

DINA  
I don't.

UNO  
Well, if it makes you feel better, I'm sure your friends Cade and Quain'll miss you too.

Dina smiles.

DINA  
That's exactly what I need. An FBI TAC team turning up at my front door to tell me they miss chasing me for the murder of an evil bad-guy that I didn't commit.

UNO  
Don't worry, we'll keep them off your back. You got your ID?

DINA  
(pats her shoulder bag)  
Yeah, right here. Imagine it, me with a full name.

UNO  
It's what we all dream of.  
(Pauses)  
Enjoy it, Dee.

DINA  
I will.

She takes another deep breath.

UNO  
You better go. 

They get out of the car, and as Uno walks around the car, Dina opens the back door and pulls out a carry-bag and a backpack, which she pulls onto her shoulder.

UNO  
Ready?

DINA  
As I'll ever be

Dina walks up the footpath, turning to smile at Uno, who waits by the car.

Dina steps forward and rings the doorbell.

A REVERSE SHOT on the look on Dina's face as the door opens.

An attractive middle-aged woman who looks a lot like Dina - CARLA - opens the door.

DINA  
(incredulous)  
Mom?

Carla steps forward and enfolds her daughter in a tight hug. Tears start running down Carla's face, and we see Dina's eyes also grow bright from forming tears. Finally, they let go of each other.

CARLA  
Come on in... Dina.

Dina moves to walk in, but turns back hesitantly, only to see that Uno has disappeared. She looks down at the street, where a car drives away, and just then an arm emerges from the driver's side and waves goodbye. Smiling even as a tear begins to run down her face, Dina turns, and follows Carla into the house.

EXT - STREET CORNER - DAY

The black sedan and van pull up. We can see that they are just a few doors down from the Prodigies' Apartment. The three Sweepers; Luke, and Miss Monroe exit the vehicles, standing behind them. JC stays seated in the car. Weston and Luke pull out binoculars, focusing them on the Prodigy's windows. WE SEE from the BINOCULARS' Point of View.

LUKE  
Curtains are drawn. Zero visibility.

Just then, the curtains are pulled apart by Trinity. She leans on the sill, looking out. She spots the black cars and her facial expression changes from calm and content to fear and horror almost instantly. She pulls the curtains closed immediately. Weston reports.

WESTON  
We've been made!

MONROE  
Dammit! Get up there, quick!

INT - PRODIGY APARTMENT LOUNGE ROOM - DAY

Outside it's day, but it's dark inside due to the drawn curtains.

TRINITY  
They're here. Everyone in position?

As the others answer, she pulls a gun from the small of her back and slips off the safety.

JUSTIN  
I'm ready here.

MERCEDES  
Me too.

TRINITY  
Right then.

She takes a position behind a sofa.

INT - BUILDING STAIRWELL 

MONROE  
Kick it in!

Weston and Porter do it, kicking in the light wooden door easily before pushing into the darkened apartment.

MONROE  
Fan out - don't let them get away!

The Centre operatives spread out, but they don't count on the booby-traps. Weston and Haley fall over trip wires. Porter stops in time, but Justin springs from behind a curtain and grabs him, putting a gun to Porter's head and pulling him back toward the wall. Monroe turns, and so does Luke, who's also armed. Weston and Haley try to reach for their dropped guns, but they can't reach them.

JUSTIN  
Guns down!

Miss Monroe and Luke hesitate

JUSTIN  
Do it!

MONROE  
You think I care about him? He's just a sweeper.

JUSTIN  
He's a valuable Centre resource, like me - so guns down! Trini, hit the lights.

Trinity steps out from her hiding place, her own gun at the ready. Luke's eyes narrow as he watches her, it's obvious he's not thinking of her as the woman he loved such a short time ago. She flicks the light switch and the room lights up somewhat. Simultaneously, Mercie creeps forward from her spot and grabs Luke, knocking his gun away. Using extreme force, she pushes him against the wall to disorient him, before pulling him in front of herself as a human shield. Miss Monroe stands alone in the middle of the room.

JUSTIN  
Into the bedroom, Monroe.

MONROE  
(sarcastic)  
You gonna make me?

Justin raises an eyebrow.

JUSTIN  
You never know.

Monroe backs down, and starts moving toward the back room. Justin pushes Porter toward her, and gestures for the other Sweepers to get up and follow them. Trinity moves forward with her gun raised, making it clear they expect them to follow their orders.

JUSTIN  
Go on, all of you.

MONROE  
(about Luke)  
What about him?

MERCEDES  
Don't worry, we just need to have a little private chat. Where's your computer geek?

MONROE  
In the car, shaking in his boots. Where's yours?

None of the Prodigies answer this question. Luke looks confused. Monroe and the sweepers are herded into the adjoining bedroom, and Trinity slams the door behind them. She locks the door from the outside, then places a chair under the knob to keep it in place.

TRINITY  
That should be enough for now.  
(She turns to Luke)  
Sit down

He doesn't.

MERCEDES  
Please, sit down. We need to talk.

Slowly, suspiciously, Luke sits down on the sofa.

LUKE  
Talk about what? What would I be talking with you about?

TRINITY  
(softening)  
Luke, surely you remember? They couldn't have taken it from you, they couldn't've. 

LUKE  
Taken what?

TRINITY  
Us. Luke - 

LUKE  
Don't call me that! I am Seven!

MERCEDES  
Your name is Luke! You were with us... we're your friends!

LUKE  
(shaking his head violently)  
No. You're all killers. I saved Dr. Roschelle once - from one of you. It's my job.

JUSTIN  
Luke - 

LUKE  
(Screaming)  
SEVEN!

JUSTIN  
Look, I helped you that night. We stopped Dec - 

LUKE  
How did you know -   
(pause)  
You were there too.

JUSTIN  
Yes.

LUKE  
You were trying to kill her too!

JUSTIN  
No, I was working with you, don't you remember?

Luke shakes his head. Just then, Uno bursts in.

UNO  
Town cars downstairs...!  
(he catches sight of Luke, sighs)  
Looks like I missed the fun part.

MERCEDES  
It's hopeless, Uno. He doesn't remember us.

Trinity steps forward, raising her gun. Her eyes are dark and cold, seemingly devoid of feeling

TRINITY  
There's only one thing left to do.

UNO  
(surprised)  
What?

TRINITY  
We have to do this. Otherwise he'll track us all down, and take us all back there.

Luke looks up, surprised.

LUKE  
I was right.

TRINITY  
You were. But now you're wrong. Can't you remember? You always said you'd rather die than go back there 

UNO  
Trini, you can't kill him...

TRINITY  
We have to.

Justin and Mercedes both look undecided, but both have their guns levelled at Luke. Uno walks in front of Trinity to block the shot. She changes her grip on the gun.

TRINITY  
Move out of the way, Uno.

UNO  
I won't let you do this. Tie him up, do whatever... but I won't let you kill him. You know you won't be able to live with yourself…

JUSTIN  
We let Dec go, Trini - 

TRINITY  
Dec wasn't going to help the Centre destroy us all!

MERCEDES  
(resigned)  
Uno's right, Trini

TRINITY  
What?

JUSTIN  
We can't kill him.

TRINITY  
He'll help them...

UNO  
Then we just have to be more careful to avoid them. Go deeper underground. You know it just as I do, Trini. As we all do.

The room is full of tension, at an impasse. Suddenly, Trinity lowers her gun, her shoulders slump, as if she were tired. She leans toward Uno.

TRINITY  
I'm sorry... 

She buries her head in his shoulder as, behind them, Mercedes and Justin step forward, Justin tucks away his gun and pulls a coil of rope from over his shoulder and gives Luke an order.

JUSTIN  
Hands behind your back.

CUT TO: BUILDING STAIRWELL

A straight shot - we see the door open on its fragile hinges, and Uno leads Trinity out, with Justin and Mercedes close behind. Just before the door closes behind them we see Luke sitting in a chair in the middle of the lounge room: gagged, bound hand and foot.

EXT - STREET - DAY

The Prodigies take the back exit and pile into Justin's jeep. Trinity leans heavily against Uno as they sit in the backseat.

JUSTIN  
What about your car, Uno?

UNO  
Leave it here - I don't need it for now.

MERCEDES  
(from the front seat)  
How was Dina?

UNO  
She was great. She'll be fine.

Justin starts the car, pushes it into gear and takes off. They pass the Centre-hired cars, and JC, looking out the window, sees them pass. He sits back in his seat and sighs.

Mercedes gazes sadly out the window.

MERCEDES  
(whispering)  
And then there were three

** THE END**

** NEXT WEEK ON PRODIGY: "FILE 1.16 - BIFF ROONEY"**

Following the series of recent events, Biff Rooney, a Triumvirate representative, arrives at C16...


	16. 116 Biff Rooney

** FILE SIXTEEN – Biff Rooney  
(Screenplay by Vokal)**

WIDE on Centre 16.

**Text On Screen:   
Centre 16  
Salt Lake City, Utah**

MISS MONROE (OS)**  
**What? A triumvirate rep? Here?

INT - ROSCHELLE'S LAB - DAY

ROSCHELLE  
Yes. Due to your father's timely reappearance, the fact that we have not recaptured the subjects, and some unrelated power struggles, the triumvirate have decided it best if they send one of their men in to... evaluate our progress.

JC  
Pfft... Not much progress to evaluate..... 

MISS MONROE  
(sarcastically)  
Thanks, JC.

JC  
Hey, we'll survive, I mean, we always do, right?

Miss Monroe rolls her eyes.

Suddenly, Mr Monroe enters.

MR MONROE  
(with a nod of his head)  
Children, Roschelle. I see you've heard about our little visit.

MISS MONROE, JC AND ROSCHELLE (in unison)  
Yes.

MR MONROE  
And I trust you will all be prepared?

MISS MONROE  
(sarcastic)  
Not likely.

Mr Monroe narrows his eyes. He grips Miss Monroe's elbow and leads her out of the room.

MR MONROE  
(to JC and Roschelle)  
Excuse us...

He ushers her out of the room and they speak in hushed voices in the hall.

MR MONROE  
Who do you think you are?

MISS MONROE  
(sarcastic)  
The virgin Mary... (becoming serious) I'm your daughter, although it seems that you have forgotten.

MR MONROE  
That does not give you the right to 'sass' me in front of my subordinates.

MISS MONROE  
'Sass' you? I've barely even spoken to you since... well since I thought you were dead...

Slight tears have welled in her eyes. Mr Monroe sighs.

MR MONROE  
I did what I had to do...

MISS MONROE  
(becoming emotional)  
What you had to do? I thought, Damon thought... you made us all believe that you were dead? We mourned... there was a funeral... Can I ask you this... Have you even been to see mom yet?

Miss Monroe raises an eyebrow questioningly.

MR MONROE  
(dismissively)  
Your mother hasn't been the same since... since...

MISS MONROE  
(somewhat accusingly)  
Since the Centre Ball. I remember.

MR MONROE  
Your mother was weak. She couldn't handle what we do here...

MISS MONROE  
She was weak? You mean she cared?

MR MONROE  
(harshly)  
Emotions are weaknesses, pumpkin, that's why I stopped you associating with that subject.

Miss Monroe pauses for a moment, as if reflecting.

MISS MONROE  
What did you do to her, daddy? What did you do to mom?

MR MONROE  
Nothing. She was weak, she had a breakdown, that's it.

MISS MONROE  
(softly)  
Yeah... that's it.

Miss Monroe watches her father's back as he stalks away.

INT - BAR - DAY

Uno sits at the bar alone. He rubs his eyes wearily as he reads the paper. He seems to be very sweaty, and rubs a hand through his hair. He motions to the bar tender.

UNO  
(voice raspy, pointing to his empty glass)  
Can I get another one, please.

BAR TENDER  
Are you okay, fella?

UNO  
Me? Yeah, I'm alright. I'll be alright.

Uno downs his drink, licking his lips thirstily. He places the glass on the bar and it shatters. The bar tender turns around and looks at him. Uno looks frightened as he looks at his arms. We see large purple veins streaking his arms. The bartender seems uneasy.

BARTENDER  
You sure dun look alright to me, there, son.

UNO  
(breathless)  
I'm alright... it's just... (sarcastic) eczema.

BARTENDER  
Right right. How 'bout you leave now, pal, we dun like dem drugs in this bar. 

UNO  
Yeah, Utah, the only state that has bars that don't advocate excessive drug use.

The bartender goes to move, but Uno shakes his hand at him.

UNO  
Woah there cowboy, I'm leaving, hang on.

Uno gets off the barstool and goes to push it in but it breaks as he does so.

UNO  
Oops, sorry about that...

Uno takes off out the door and breaks the door handle. He races to his car and jumps in, gripping the steering wheel. He pulls it off.

UNO  
(looking at the freakish purple streaking)  
Great, just great.

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

EXT - BIRDS EYE SALT LAKE CITY UTAH - NIGHT

**Text On Screen:   
Salt Lake City, Utah**

INT - PRODIGY SAFEHOUSE - NIGHT

In a fuzzy dressing gown and slippers, Trinity sits on the couch watching TV and eating popcorn. In a REVERSE SHOT we see that she is watching 'Terminator 2: Judgment Day'. She seems very engrossed in the show. Justin enters the room. He gets distracted by the TV and sits down. He reaches for her popcorn and without taking her eyes off the TV, Trinity moves the bowl slowly away from him. Justin, who is also very engrossed in the TV, continues reaching. Mercedes enters the room and grabs the bowl, walking into the kitchen with it. Trinity frowns. Justin puts invisible popcorn in his mouth and starts chewing.

Suddenly the door flies open, crashing against the wall and shattering into a million fragments. Framed in the doorway, Uno stands looking apologetic, his purpling veins and illness evident.

Trinity, Justin and Mercedes turn in unison to look at him.

JUSTIN  
What the hell happened to you?

UNO  
(sarcastically)  
Bad day at the office

INT - CENTRE 16 - NIGHT

Miss Monroe site in her office twirling the SAPPHIRE BRACELET around in her hand. She has a flashback.

FLASHBACK

INT: A BALLROOM

In a ballroom, we see Grace and Malcolm Monroe dancing, Malcolm goes to touch his wife's cheek affectionately, but she turns her head away. Leaning against a wall talking to some older-looking men we see Calvin. This is clearly some sort of Centre function. Underneath one of the banquet tables, Miss Monroe ~ 7 years old, and her little brother Damon, are piling cakes into a napkin.

INT: A CORRIDOR NEARBY

We see Grace and Malcolm come into view. Grace is angry. Malcolm grabs her wrist roughly, pulling her toward him.

GRACE  
Malcolm, this is wrong.

MR MONROE  
Grace, you don't know what you're talking about....

GRACE  
I know enough. You took these kids, you stole them, their homes, their families...

MR MONROE  
In the interests of humankind... and The Centre... with their gifts...

His words aren't convincing her.

GRACE  
(reluctantly)  
I can't just let this be, Malcolm...

Grace goes to stalk away. Malcolm grabs her arm, but she shakes him off and walks away. As the camera PANS OUT, we see Young Miss Monroe standing at the end of the hallway, napkin full of cakes in her hand. She looks on, confused.

CUT TO:

YOUNG MISS MONROE ~ 7 years old lies on a rug on the floor in her father's office. She is wearing a silver bracelet with small sapphire hearts around it, and lies clutching a teddy, half asleep. She is wearing the dress from the ball. It is obvious that this is later in the night. Miss Monroe's mother, who we will know as GRACE walks into the room. She walks over to the sleeping Miss Monroe, kneels down beside her and kisses her on the forehead.

GRACE  
Wake up baby...

Miss Monroe rolls onto her back, and seeing her mother leaning over her, smiles.

MISS MONROE  
(sleepily)  
Mom...

Grace smiles. The doors open again and a woman with long brown hair and dark brown eyes walks in. We recognise her as the woman in the photo with Roschelle that Miss Monroe found in Roschelle's file in 1.03 - Kick. We will know her as RACHEL. She has an urgent expression on her face.

RACHEL  
Grace, I need to speak with you...

Grace looks down on the half asleep Miss Monroe again, kissing her on the cheek.

GRACE  
Sweet dreams baby girl. (turning to Rachel) I'm coming Rachel

Grace gets up slowly, turning again to look at her sleeping daughter, She smiles at her, and walks over to Rachel.

CUT TO:

Young Miss Monroe ~ 13 years old, stares out the window of her fathers office. We follow her point-of-view out the window, and to where the prodigy subjects and Roschelle are outside near the tree. They are ring-barking it. Young Miss Monroe grimaces slightly, a grimace that was to become a characteristic trait. We hear the door close, and Miss Monroe turns to see her mother walk in.

GRACE  
(Unemotional, almost uncaring)  
It's time to go

Miss Monroe turns to her mother, a sad, far away look on her face. Her mother stares back, eyes cold.

END FLASHBACK

Miss Monroe is startled from her flashback by Roschelle as she walks into the office.

ROSCHELLE  
A penny for your thoughts

MISS MONROE  
A valium to get get rid of them

Roschelle smiles mutedly.

ROSCHELLE  
I'm heading out now, finished up for the night. You should think about doing the same.

MISS MONROE  
Indeed

ROSCHELLE  
You alright?

MISS MONROE  
Always.

Roschelle nods, and tapping her hand on the doorframe once, leaves the office. Miss Monroe is left to contemplate.

INT - PRODIGY SAFEHOUSE - NIGHT

The gang sit around a makeshift lab in the apartment. Justin is adding solutions to vials of what we assume is Uno's blood. Uno sits on the bench looking quite ill, while Trinity and Mercedes stand nearby eating popcorn. 

JUSTIN  
It looks like your assumption was correct Uno.  
(he turns to face the group)  
In reaction to the 'Tarquin Insanity', your body is over-producing the hormone adrenalin, which is causing your symptoms.

UNO  
But how could that turn me into friggin' superman?

JUSTIN  
There have many incidents in which adrenalin has been responsible for parents lifting cars off their children, fireman pulling doors off their hinges in one motion, and lots of other...

MERCEDES  
(interjecting)  
Weird shit happening...

Justin narrows his eyes at Mercedes, who crunches a bit of popcorn at him.

UNO  
Okay, so there's no more Mentor T13 left, what do we do?

MERCEDES  
We could track down some plain ol' T13

TRINITY  
(shaking her head, her mouth full of popcorn)  
Mmmm mmm, Roschelle manipulated the base chemicals of T13 to create an entirely different strand of chemicals. So whilst they have the same base structure, they are quite different.

UNO  
(sarcastic)  
You know you could've just said 'it won't work'

TRINITY  
(mimicking Uno's sarcasm)  
You know, we could just leave you die...

Uno's smile is wiped from his face. Trinity grins.

JUSTIN  
I think Uno's best chance lies in a countering hormone. Another hormone that will cancel out the adrenalin.

UNO  
Cortozol

JUSTIN  
Yep. But it's gonna need to be pretty powerful stuff.

UNO  
I know where we can get some.

They look to him questioningly.

UNO  
The research centre associated with the Gradoi Facility, you know that high-tech prison yous busted me out of, well when I was investigating them I happened to notice they have a large store of synthetic Cortozol.

MERCEDES  
So we're gonna break into the Gradoi Facility again?

UNO  
Nope, it's kept at the research centre associated with the facility, Dynalabs.

JUSTIN  
We're going to Seattle!

INT - CALVIN'S OFFICE - EARLY MORNING

Calvin stands at his office window, looking out over the desert. Malcolm Monroe enters, and pauses right inside the door, looking around the tastefully decorated room in an almost appreciative manner. After a moment, he walks forward to stand beside Calvin at the window.

MALCOLM  
I like what you've done with the place.

CALVIN  
Johanesson had absolutely no taste in art.

MALCOLM  
So that's why you killed him?

Calvin turns to face Malcolm, and opens his mouth, but Malcolm beats him to it.

MALCOLM  
Don't bother trying to deny it, Calvin. I'm sure it was for the best, anyway. And you have my word that it won't go further than this office.

CALVIN  
I don't need to defend myself from baseless allegations.

MALCOLM  
They're not baseless. However, I'm sure you didn't ask me to come here to talk about that. 

CALVIN  
No. 

MALCOLM  
Ah.

CALVIN  
I'm disappointed in you, Malcolm. I thought a few years in the cold might have made you more receptive to the warmth.

MALCOLM  
It's pretty hard to completely defrost, Cal.

CALVIN  
Well you better. I won't have this team split in two.

MALCOLM  
I see. 

CALVIN  
But let's put our differences aside for a moment. I need to talk to you... about Miss Monroe...

MALCOLM  
Yes?

CALVIN  
She can't know Malcolm. She can't know the truth.

MALCOLM  
I know

CALVIN  
(thoughtful)  
So what will you tell her?

MALCOLM  
Enough... Enough to stop the questions.

The two men stand silently for several moments. Finally, Malcolm nods.

MALCOLM  
Right then.

CALVIN  
Thank you.

Calvin turns around and looks out the window again, it is clear he has finished. Malcolm waits for a minute, but then turns and leaves the office quickly. We see Calvin sigh as the doors close behind Malcolm, his face juxtaposed with the glass reflection of the desert.

INT - SALT LAKE CITY AIRPORT - DAY

Uno and Justin walk toward metal detectors. They are dressed as pilots. Uno looks uncomfortable and sick.

JUSTIN  
You sure you're alright?

UNO  
(wincing as he flexes his hands)  
Yeah, fine.

JUSTIN  
(looking speculative)  
Alright, but I'm driving.

Uno gives a half smile.

UNO  
Where are the girls?

JUSTIN  
They're on their way.

As Justin and Uno clear the metal detectors, Trinity and Mercedes approach dressed as flight attendants. 

MERCEDES  
How come we never get to be pilots?

TRINITY  
Sexism, sister.

Mercedes nods and they reach Justin and Uno, walking beside them.

TRINITY  
I don't know why we can't just by a ticket like normal people

UNO  
(appreciating the way Trinity looks in her stewardess outfit with a sly grin)  
Because honey, you are far from normal.... (shrugging) also, you know, it leaves a paper trail, allows us to be tracked by...

JUSTIN  
... Miss Monroe

UNO  
Exactly

JUSTIN  
No no, I mean, Monroe, is here, now...

MERCEDES  
What?

In unison, Mercedes, Uno and Trinity turn to follow Justin's line of sight.

UNO  
What the..

We see Miss Monroe and Roschelle greeting a large African man. Several operatives in suits pick up his suitcases and Miss Monroe shakes his hand.

INT - SALT LAKE CITY AIRPORT - DAY

MISS MONROE  
It's a pleasure to meet you Sir.

BIFF ROONEY is a large African man with a friendly smile, warm face and deep, sincere voice. he is wearing an eyepatch.

BIFF ROONEY  
And I am honoured to finally meet you, Miss Monroe. Your reputation precedes you

MISS MONROE  
(with a wry smile)  
I assure you, Mr Rooney, it's all untrue

BIFF ROONEY  
(smiling back)  
That's good to hear...

INT - SALT LAKE CITY AIRPORT - DAY

Justin stares intently at the scene, especially Miss Monroe.

TRINITY  
A Triumvirate rep?

UNO  
(confirming)  
Has to be one of the Zulus

MERCEDES  
So why would a one of the Triumvirate's big-wigs be here?

Justin continues staring at Miss Monroe

INT - SALT LAKE CITY AIRPORT - DAY

Miss Monroe suddenly twitches uncomfortably, as if she has the feeling she is being watched. She turns nervously and looks around. The prodigies realize and turn suddenly. Miss Monroe gets the back view of two pilots and two flight attendants. She narrows her eyes.

INT - SALT LAKE CITY AIRPORT - DAY

Uno raises his eyebrows and releases a long, relieved breath.

UNO  
Let's go

JUSTIN  
Agreed

INT - LUKE'S LIVING SPACE

Luke sits on the edge of his bed, staring blankly ahead.

FLASHBACK

INT: LUKE'S HOLDING CELL, AS IN 1.11 - KILL THE MESSENGER

Luke lies strapped to the cot in the corner of his Spartan cell. We see the door slide open, and two Centre Operatives enter. Behind them, just as the door slides closed, we see Fallen observing, his arm in a sling. The Centre Operatives approach Luke and start beating him, without saying anything.

LUKE  
Hey!.... Help!..... Asshole!

INT - PRODIGIES APARTMENT AS IN 1.08 - HO HO WHO?

Trinity stands up and walks over to Luke, who also stands. She looks into his eyes, her emotions clear. Luke takes her head in his hands, gently he touches his nose to hers, his hands still holding Trinity's head, as their lips draw closer.

END FLASHBACK

Luke sits on the edge of his bed, staring blankly ahead, the only emotion revealed is a slight furrow of his eyebrows.

INT - CENTRE 16 MAIN FOYER - NIGHT

All the Centre gang are milling around the foyer with drinks and nibblies, obviously some sort of 'welcome' for Biff Rooney. Roschelle and JC are hiding away in a corner, JC with a particularly large plate stacked with finger food. Miss Monroe is standing on her own and downs a glass of champagne in one mouthful. Calvin, Rooney and Mr Monroe are in discussion. From Miss Monroe's POINT OF VIEW we see Fallen arrive, straightening his tie. Miss Monroe narrows her eyes. Mr Fallen approaches Biff Rooney and Calvin and Mr Monroe. They shake hands. 

BIFF ROONEY  
Mr Fallen, I had the pleasure of working with your father...

FALLEN  
It's good to meet you to Sir...

CALVIN  
We were just informing Biff on your progress with the Prodigy project...

FALLEN  
(raising an eyebrow questioningly)  
Progress?

BIFF ROONEY  
(grim)  
Exactly

FALLEN  
Excuse me gentlemen...

Fallen shuffles away hurriedly towards Miss Monroe, who is smiling somewhat triumphantly.

MISS MONROE  
Guess that charm of yours has failed you, huh?

FALLEN  
(with a smile)  
I'm getting rusty

MISS MONROE  
(nodding toward Biff Rooney)  
He seems alright though...

FALLEN  
They all do until you fail...

MISS MONROE  
What do you mean?

FALLEN  
Biff Rooney was the the Triumvirate rep who assessed my father when one of his projects went pear-shaped.

Miss Monroe looks at Fallen questioningly. 

FALLEN  
(continuing)  
He died 4 days later...

They both look to Biff Rooney, slight fear in their eyes.

EXT - SEATTLE - SUNRISE

BIRD'S EYE on the city, street lights are turning off, and the sun peaks slowly above the sky rises

**Text On Screen:   
Seattle, Washington**

INT - SEATTLE AIRPORT - MORNING

Trinity, Mercedes, Uno and Justin are sitting in the airport cafeteria eating breakfast. Justin is eating waffles and ice-cream, trinity has a bowl of cereal, Mercedes has a croissant whilst Uno has a plate of bacon and eggs, toast, juice, a bagel, breakfast pastries and many other treats. The others keep sending him glances. The strange purply veins seem to be gone and he seems quite well.

MERCIE  
How U feeling?

UNO  
Good good.

TRINITY  
(slowly)  
Ooookay.

UNO  
(shoveling food into his mouth)  
No I really do feel quite well

JUSTIN  
(dryly)  
And quite hungry, obviously.

UNO  
(with his mouth full)  
Starving.

JUSTIN  
So I think we should wait for the cover of darkness, as is our style, before we make our move, what do yas think?

MERCEDES  
You the boss...

UNO  
Who decided that?

JUSTIN  
Well, it's kinda implied...

UNO  
(rolling eyes)  
That's why I work alone...

INT - MISS MONROE'S OFFICE - MORNING

Miss Monroe enters her office, only to find Fallen sitting at her desk working.

MISS MONROE  
What the hell is going on here?

FALLEN  
I'm lending my office to Biff Rooney while he's here, you know, trying to stay 'ahead' (he makes a throat slitting gesture) of the game.

MISS MONROE  
So why the hell are you in MY office?

FALLEN  
Calvin thought it'd be good for us if we shared an office for a while, you know, (he makes air quotation marks) 'bring us closer'

MISS MONROE  
(rolling her eyes)  
Kill me please

FALLEN  
C'mon Monroe, there are heaps of other people in line ask one of them... you know, I don't wanna get fired (he makes a gun motion with his hands to his temple)

MISS MONROE  
Fallen, get a life

FALLEN  
(with a smile, and motioning to the office around him)  
Why, when I can intrude on yours?

Miss Monroe sighs exasperatedly. Fallen grins.

At that, Luke walks into Monroe's office. Miss Monroe involuntarily shudders as she looks at his blank, uncaring face.

LUKE  
(to Fallen, flatly)  
You helped me escape from somewhere... here maybe... once, a while ago... I think

MISS MONROE  
What?

Fallen sits open-mouthed

FALLEN  
Wh.. why would I do that?

MISS MONROE  
Fallen, what?

LUKE  
(to Fallen, flatly)  
You orchestrated a situation in which I would be moved to the infirmary so as to make my escape easier...

MISS MONROE  
(to Fallen)  
You beat him up...?

LUKE  
(to Fallen, flatly)  
Then you supplied me with equipment that allowed me to break out of The Centre.

FLASHBACK

INT: INFIRMARY AS IN 1..11 - KILL THE MESSENGER

Luke lies strapped to a bed. Fallen enters the room and hands him the device Luke used to escape from his cell. Luke looks confusedly to Fallen.

END FLASHBACK

MISS MONROE  
Fallen?

LUKE  
Why would you help me escape... and more so, why would I need to? And who is Trinity?

Fallen and Monroe look at each other worriedly. Rhoda enters.

RHODA  
Biff wants you up in his office.

The three go to move. Rhoda puts a hand up to Luke.

RHODA  
Not you (pointing to Monroe and Fallen) Just them...

Rhoda leaves. Luke sits down. Miss Monroe storms determinedly out the door. Fallen follows, grabbing her hand. He looks somewhat pleadingly into her eyes. They speak in angry whispers.

FALLEN  
Monroe, you can't tell him...

MISS MONROE  
(shaking herself loose of Fallen)  
What I am I supposed to do? I mean, Fallen what were you thinking? Helping a subject escape?

FALLEN  
I was thinking that maybe if I helped him escape he would lead us to the others...

MISS MONROE  
And what if... (sighing) Fallen...

Fallen looks at Miss Monroe with real traces of terror in his eyes.

FALLEN  
Monroe please, when they got done with my father, Roschelle had to identify him by his dental records...

Miss Monroe looks at Fallen and walks away determinedly. 

EXT - SEATTLE

In INCREASED SPEED we see the day turn to night, as the sun sets and the lights flicker on in the city. We SPIN around the space needle and down a dark alley, to DYNALABS, large undecorated cement buildings surrounded by electric fencing. We see a van approach with the lettering 'KMA Medical Supplies'. CLOSE IN on the van. Mercedes is driving, dressed in uniform, and Uno sits beside her, also in uniform. They pull up to a loading gate, where a variety of activity is occurring, mainly unloading and loading of supplies. We see live animals being unloaded.

SECURITY GUY  
Can I see your clearance please?

MERCEDES  
(smiling)  
We don't actually have any...

SECURITY GUY  
I'm sorry?

MERCEDES  
We got no clearance...

We hear the sound of guns cocking, behind the security guy we see Justin and Trinity.

MERCEDES  
But we do have guns...

Trinity is dressed like the security guy, and, after knocking him unconscious, takes his place at the entrance, pressing a button that lifts the gate. Justin drags his body from view. Justin gets back into the van and they continue on their way. Uno waves to Trinity as they drive past her.

EXT - DYNALABS - NIGHT

In a side entrance by the building, we see the van pull to a stop. The gang get out carrying boxes with the company logo on them. The walk to a security door and press a buzzer.

BUZZER MAN  
Yes?

JUSTIN  
KMA med supplies. We're just dropping off a scheduled delivery.

BUZZER MAN  
Go right ahead.

The door opens. Uno smiles.

UNO  
(triumphantly)  
This is TOO easy!

Mercedes and Justin also smile.

JUSTIN  
Okay, Uno, go get your hormones

UNO  
Can you not say it like that, you know, it makes me sound so emasculated

JUSTIN  
Fine fine, you go get your errr... 'stuff' and Mercedes and I will maintain our cover

UNO  
Can you not say it like that either, kinda makes me sound like a drug addict...

JUSTIN  
Uno..

UNO  
Okay okay, I'm going...

JUSTIN  
(tapping his communication piece)  
Keep in contact

Uno nods.

INT - DYNALABS - NIGHT

Uno snoops down the corridors. He finds a door labeled 'LAB 4' and enters. He creeps through the Lab, passing by jars of fetus' he crinkles his nose in disgust.

UNO  
(into his comm unit)  
This is some freaky-assed shit...

JUSTIN  
(over comm unit)  
Stay focused

UNO  
(making a fist and thrusting it into the air in mockery of Justin)  
Focus!

Uno makes his way to a storage room, and pushes it open. He finds shelves of vials. He searches them, taking up a box labeled 'Cortozol X765'

UNO  
(throwing his head to the side in a dramatic movement)  
I am TOO good!

ANNABELLE  
Not that good.

Behind him, Annabelle points two guns at him, a triumphant smile on her face. Uno looks surprised.

ANNABELLE  
(motioning to the corners of the room)  
Security cameras

UNO  
(idignant)  
Since when?

ANNABELLE  
You know, we don't have to run our security procedures by you before we implement them

UNO  
(sarcastic)  
Well it'd help you know...

ANNABELLE  
So, the elusive Mr Uno returns.. what brings you back?

UNO  
C'mon, I missed you, ain't that obvious?

JUSTIN  
(over comm unit)  
Uno, is there any way you can get out?

UNO  
(to Justin, but disguising his comment with a double meaning so as not to alert Anna to the Prodigies presence)  
Things aren't looking good...

ANNABELLE  
Not for you anyway...

JUSTIN  
(over comm unit)  
Hang tight, we're coming in...

UNO  
(trying to distract her)  
So, how's things been? You still doing bad scientific things to people?

ANNABELLE  
Well, no actually, our interests have actually been peaked by you, Mr Uno

UNO  
And why is that?

ANNABELLE  
We know what you are...

INT - DYNALABS - NIGHT

Trinity, Mercie and Justin head down the same corridors Uno did. They encounter guards but Trinity knocks them out while Mercie sprays the security cameras and Justin stands by.

TRINITY  
(sarcastically to Justin)  
Thanks for your help

JUSTIN  
Anytime

INT - DYNALABS - NIGHT

UNO  
(shrugging)  
So I'm a chemically enhanced genius, big deal

ANNABELLE  
(with an ironic smile, but somewhat surprised)  
You don't know... you don't know...

UNO  
(genuinely confused)  
Know what...?

ANNABELLE  
The truth...

At that, The gang enter, Annabelle goes to fire her guns, but Trinity disarms her with a kick to her arm. Annabelle clutches it protectively, wincing in pain.

UNO  
Guys, she knows something about us...

JUSTIN  
There's no time, we got at least a dozen more guards on their way.

MERCEDES  
Let's go!

Trinity, Justin, Uno and Mercedes head out, leaving possible information behind them. Uno looks reluctant, but he has the hormone.

EXT - DYNALABS - NIGHT

We see the van pull out hurriedly. Guards run out after it but the Prodigies are safe.

EXT - RING BARKED TREE - MORNING

Miss Monroe stands underneath the tree, her arms hugging her body, the breeze lifting her hair. We see Fallen approach. He stands beside her silently for a few minutes.

FALLEN  
I didn't get a chance to tell you yesterday, but thanks, you know, for not ratting me out.

MISS MONROE  
Fallen, you say 'you know' too much...

Fallen smiles and looks away. Miss Monroe sighs.

MISS MONROE  
So Biff Rooney's staying for a while huh?

FALLEN  
Yep, keep an eye on us, no pun intended. You know...

Fallen stops himself and laughs slightly. Miss Monroe half-smiles too.

MISS MONROE  
Guess we'll be sharing an office for a while longer...

FALLEN  
Guess so.

Miss Monroe and Fallen stare off into the desert. The Utah breeze plays about the tree and the two people standing beneath it.

INT - SEATTLE AIRPORT CAFETERIA - MORNING

The Prodigy gang sit around eating breakfast again in their airline outfits.

JUSTIN  
How do you feel after that first shot of Cortozol?

UNO  
Great, just great.

Uno is again eating a great deal of food.

MERCEDES  
Not curbing the appetite though...

UNO  
No, I am just so hungry...

Uno takes a sip of juice and puts the glass down, it shatters. They all look at it confusedly as the SCREEN FADES TO BLACK.

THE END

NEXT WEEK ON PRODIGY – ** BETRAYAL:** As the pressure on Miss Monroe to reclaim the subjects increases, she asks Justin for help...


	17. 117 Betrayal

_Last Week on Prodigy: _

_- Triumvirate member Biff Rooney arrived at C16_

_- Uno was overcome by the Tarquin Insanity_

_- The Prodigies broke into Gradoi to steal synthesised Cortozol to alleviate his symptoms_

_- Fallen moved into _ _Monroe__'s office, as his was taken over by Rooney as he supervises their attempts._

** FILE 1.17 – BETRAYAL**

** Story by Vokal and Jak**

** Screenplay by Jak**

EXT – UNIVERSITY – AFTERNOON

A sign informs us that we're at           _The _ _ University__ of _ _ Utah__,_

_ Ogden__ Campus_

_                                                             BioGenetics division_

INT – LABRATORY – AFTERNOON

Justin leans over a microscope, while Mercie stands nearby, clipboard in hand.  After a moment, Justin straightens up and turns to Mercie.

JUSTIN

I can't believe it.

MERCEDES

What?

JUSTIN

Uno's practically beaten this thing.

MERCEDES

What are you talking about?  He's still going Superman all the time.

JUSTIN

His body is overproducing adrenalin… But it looks like it's natural.

MERCEDES

If it's natural, how could we have never noticed? I mean, when a guy smashes practically everything he touches, it's pretty hard not to.

JUSTIN

(musing)

Perhaps…

(takes another look into the microscope)

MERCEDES

Justin, I'm out here.

Justin looks up again, his head inclined to the side as he 'thinks aloud'.

JUSTIN

If Uno over-produces adrenalin naturally, it would have been a concern for The Centre.

The two exchange a look.

MERCEDES

You don't think… The T-13?  They managed to control it with T-13?

JUSTIN

(reaching for his cell phone)

I better let them know.

** OPENING CREDITS**

EXT – CENTRE 16 – AFTERNOON

_ Text On Screen:         Prodigy Wing_

_                                     Centre 16, __ Utah_

FALLEN (VO)

Don't you ever knock?

INT – MISS MONROE'S OFFICE

Miss Monroe has just entered her office, only to find Fallen sitting at her desk.

MISS MONROE

This is my office!

FALLEN

Oh, yeah.

MISS MONROE

What are you still doing in here?

FALLEN

You know the deal, Monroe.  Rooney's acquisitioned my office for his use while he's here.

Miss Monroe wanders over to a stack of paper and plastic tubs and boxes and grimaces.

MISS MONROE

And what are these doing here?

FALLEN

(scoffs)

You don't think I'd leave all my files there, do you?  With the Big Man?

MISS MONROE

Why not, at least then they wouldn't be ruining my décor.

FALLEN

Yeah, but you know those Triumvirate types...

MISS MONROE

Actually, I don't.

FALLEN

Well, I do.  If you leave something behind, it's theirs to go through.  Hell, sitting in here it's theirs to go through.  I mean, if all this stuff was locked in a five-foot steel vault – 

MISS MONROE

I get it, it'd be theirs to go through.  Why's it all so important?

FALLEN

The Prodigy files, Monroe.  Every clue, every lead we've followed.  If he saw it, saw what's happened…

MISS MONROE

You're right.

(She kicks the boxes lightly with the tip of her toe, and shrugs)

   I guess I can get used to the new décor.

EXT – FIVE STOREY APARTMENT BLOCK – AFTERNOON

UNO

Yeah, okay Justin, I got it.  Okay.  Bye.

The Prodigies' digs are, as usual, not terribly pretty; but practical and unassuming.  We move toward the first storey window… and push through into the apartment.

INT – LIVING ROOM – AFTERNOON

TRINITY walks across the living room in fitted exercise gear, and seats herself in the middle of the sparsely furnished room.  She sits in the 'lotus' position: legs crossed, hands on her knees, eyes closed, sitting up straight.  Her hair is pulled into a fashionably messy knot at the crown of her head.

UNO appears in the doorway, munching enthusiastically on a large carrot.   He observes Trinity for a moment and is about to say something when she interrupts him. 

TRINITY

Have you taken the Cortozol today?

UNO

You know I have.  Justin says I'm overproducing adrenalin.

TRINITY

I guess it makes sense… But you're still eating an awful lot.

UNO

It's only been a week and a half.  Maybe over time, this whacked-out body of mine will stop producing so much, and…

Trinity's eyes snap open.

TRINITY

That's it.

UNO

What's it?

Trinity sits quietly for a moment, working through this snap theory.  Uno gets impatient.

UNO

What is it?  Mr Carrot and I can't hang around all day for answers.

Trinity still isn't answering.  Uno begins to have a conversation with what's left of his carrot.

UNO

You see, Carr – can I call you Carr? – this is what I'm talking about.  She's a pretty girl, but when she gets an idea like this, she just all shuts off and doesn't do or say anything. Sometimes it – 

TRINITY

(interrupts)

Stop talking to your carrot, Uno.  Here – 

(She pats the floor next to her)

Sit down.

UNO

(incredulous)

Are you serious?

TRINITY

Deadly.  Lose the carrot.

Uno sets the carrot down on a coffee table before moving to join Trinity.

UNO

Sorry, man.  The lady calls.

TRINITY

Now, cross your legs, like this.

She gestures toward her own legs in demonstration.  Uno looks pained.

UNO

Trin, I'm just not configured that way, okay?

TRINITY

(stubborn)

Everyone is.  You just don't know it yet.  _Try_.

Uno attempts to fold his legs like Trinity's and finally achieves some semblance of the posture.

TRINITY

Okay, now, hands on your knees, sit up straight.

Uno tries to follow the instructions, but while Trinity achieves them quite naturally, Uno looks awkward.

TRINITY

Now, close your eyes.

CLOSE IN on Uno's eyes.  They flicker as he closes them.  He frowns, as if he's trying desperately to keep his eyes closed, but it's only seconds before they snap open again.

UNO

I can't!

Trinity is now sitting opposite him, looking like the epitome of peace.

TRINITY

Why not?

UNO

Because I just can't!  I can't do this – sit around, trying to be still…

Uno picks himself up off the floor and stalks into the kitchen.  Trinity sighs, gets up and follows.

TRINITY

Don't you see what I'm trying to do here?

UNO

Why don't you spell it out for me?

TRINITY

Your body is all hyped up.  The adrenalin is pumping, it wants to get moving, to do something.  Now, since the result of you doing anything recently seems to be splintered glass, broken plates and bent cutlery, why don't you try something that'll tell your body to slow down.  And then, maybe – 

Trinity cuts herself off as Uno's legs seem to buckle.  She leaps forward to steady him and help him into a chair at the dinner table.

TRINITY

Maybe you won't have these swings.

UNO

(weakly)

'Swings'?

TRINITY

Don't play ignorant with me.  The sudden collapses.  One second you're full of beans, the next, you're snoring like a baby.  Or a log.  Which one is …?  Anyway… we have to do something.

UNO

And you think that mumbling "homm" will help?

TRINITY

Meditation should help calm you down.  Look, will you at least try it?

UNO

(sighs)

Yeah, okay.  I guess I can't keep going all 'Hulk'-ish on you guys all the time.

TRINITY

Don't worry, U.  We still love ya when you're angry.  Now, come on; let's try it again.

INT – FALLEN'S OFFICE – DAY

Biff Rooney stands at the window, overlooking the desert.  Fallen and Monroe enter. 

BIFF ROONEY

Ah, Miss Monroe, Mr Fallen.  Happy to see you again so soon.

Miss Monroe notices that Fallen is unusually rigid, and his hands are clenched.

MISS MONROE

You too, Sir.  Are you enjoying your time here?

BIFF ROONEY

What can I say?  Calvin has taken it upon himself to show me the sights of Salt Lake City.

MISS MONROE

Ah.

BIFF ROONEY

I see you understand.  What about you, Mr Fallen?  Are you enjoying your time here?

FALLEN

Sir?

BIFF ROONEY

It would appear that you don't, the way you indulge your passion for racing across the countryside.

FALLEN

I travel only on Centre business, Sir.

BIFF ROONEY

Oh, yes.  And that business is?

FALLEN

To locate and retrieve the escaped Prodigy subjects, Sir.

Rooney nods, and turns back to look out over the desert.  Miss Monroe and Fallen exchange looks.

MISS MONROE

Sir, I was under the impression that you were aware of our position here.

BIFF ROONEY

I am, Miss Monroe.  But with the amount of success you've had, anyone might be forgiven for thinking that you're here simply to make your office look pretty.

MISS MONROE

Sir, I – 

BIFF ROONEY

Take offence to that remark?  Why wouldn't you?

FALLEN

With all due respect, Sir, these are geniuses we're chasing.  They don't go into a room without knowing all the possible ways out.  They always have an objective – sometimes, it's just to avoid us.  They always have a plan.

BIFF ROONEY

And those are the reasons why you have not caught them yet?

FALLEN

Only a few of them, Sir.

BIFF ROONEY

(shaking his head)

It's beyond my understanding as to how the two of you managed to pass Review.

MISS MONROE

Sir – 

BIFF ROONEY

Enough!  I came here to assess the situation, and I have done so to my satisfaction. I have made my decision.  Recapture the subjects within three months.

FALLEN

And if we don't manage to retrieve them within that time?

BIFF ROONEY

As Co-Directors of Special Projects, you will both be 'let go.'

MONROE

Sir?

BIFF ROONEY

You heard me, Miss Monroe.  Three months.

Monroe and Fallen go to leave, but Rooney unfolds the newspaper he has been holding and places it on the desk. We see the headline:

'FATHER AND YOUNG DAUGHTER DIE IN HORROR CAR SMASH'

Miss Monroe raises an eyebrow. Fallen swallows.

BIFF ROONEY

Did you hear about Ken Holland? Tragic really, his daughter being so young... (he shakes his head sadly)

MONROE

Holland? From accounts? He's dead?

BIFF ROONEY

Yes.

Fallen looks up from the paper horridly. 

BIFF ROONEY

Its quite inconvenient, really. We'd detected some anomalies 

in Centre 16 accounts, recently. Mr Holland hadn't been too forthcoming with answers. This could set the investigation back months...

He swallows deliberately and slowly, a somewhat maniacal glint in his eyes.

BIFF ROONEY

Although I'm sure we'll find that Mr Holland had been skimming money off accounts for quite some time...

Fallen and Monroe look at each other worriedly. The end of the conversation signaled, Monroe and Fallen leave. Rooney stands by the window again and looks out into the desert.

INT – PRODIGY WING ATRIUM – DAY

Miss Monroe and Fallen stand together in shadow, half-hidden by a pillar.

FALLEN

Are you kidding?

MISS MONROE

Do I look like I'm joking?  Fallen, you were the one who reminded me what 'let go' meant in this place.  

FALLEN

I'm starting to wish it just meant being out of a job.

MISS MONROE

Starting to?  

FALLEN

(shrugs)

It's never affected me before.

MISS MONROE

(under her breath)

Nice.

(Normally)

Look, if you can think of a better way in the next four hours, I'll go along.  But if not…

FALLEN

Okay, okay.  I'll think about it.

MISS MONROE

Think fast.  I don't know about you, but I do not want to be 'let go'.

INT – PRODIGY APARTMENT – NIGHT

Trinity and Uno stand side-by-side in the lounge room, going through a series of Tai-Chi moves.  Arms sweep to one side, then the other.  They reach to the sky, Uno only slightly behind Trinity, who has her eyes closed.  They hold their hands out to each side and lift one leg, touching to the toe to the knee of the other leg.

We hear a door open loudly.  Uno loses his balance and falls over, landing flat on his face.  Trinity opens one eye, and seeing Uno, stops the series to kneel at his side.

TRINITY

You okay?

UNO

Yeah.

Mercedes and Justin enter, both carrying numerous grocery bags.  They see Uno on the floor and move forward to help.  Uno waves them off.

UNO

I'm okay.

Uno picks himself up.

TRINITY

So, you guys find out anything new today?

In the background, Justin's cell rings.  He moves to answer it.  Mercedes starts talking to Trinity and Uno.

MERCEDES

Well, aside from what we told you earlier…

JUSTIN

(into cell phone)

Hello?

INTERCUT WITH

INT – MISS MONROE'S LIVING ROOM – NIGHT

MONROE

Justin?

Justin moves into another room and lowers his voice almost to a whisper.

JUSTIN

Monroe?  How did you get this number?

MONROE

What, you don't think I'm smart enough to get a trace run by Pac-Bell?

JUSTIN

Of course not.  I'm just… surprised.

MONROE

Well, prepare to be more surprised.

JUSTIN

What do you mean?

MONROE

I need your help.

A yell comes from the other room.

MERCEDES

J, where's the Doritos and salsa?

Justin covers the mouthpiece of the phone.

JUSTIN

In the bag with the celery and cheese.

(back into the phone)

What do you need my help for?

MONROE

(sighs)

To get out of C16.

EXT – CENTRE 16 – EARLY MORNING

The imposing concrete building shimmers in the early desert sunlight.  Then, a separate shot of the ringbarked tree.  Fallen walks into shot, and bends down.  We CLOSE IN as Fallen runs his fingers over the grain of the dead tree.  REVERSE to see Fallen's thoughtful face.

INT – PRODIGY WING ATRIUM – DAY

JC

What do you mean, 'square one'?

MONROE

I mean, we're going back to the start.  We're going through the old case files.  We're going to find out where it all went wrong.

JC

Look Miss Monroe, that's not going to help.  Why don't we just activate Luke – I mean, Seven – again?

MONROE

He's… he's not stable enough.  

JC

Since when?  And when were you going to tell me?  Cause, you know, I'm sharing workspace with the guy.  Might be handy to know if he's about to fly off his rocker.

MONROE

No, it's not a rocker thing, JC.  It's just… well, he's remembering – his life before he returned… things like that.

JC

(eyes widening)

The other Prodigies?

MONROE

(sarcastic)

They were part of his life, weren't they?  Yes.  Particularly the younger girl, Trinity.

JC

(thoughtfully)

Let me run a sim through the computer and I'll get back to you on that.  

MONROE

Fantastic.

Monroe turns to leave.

JC

Should I get Roschelle in the loop on this?

With Monroe facing away from JC, he can't see her grimace, but we can.  We see her from JC's POV as she answers.

MONROE

No… I need her on something else.

JC

Right.

JC turns and leaves.  Monroe stands for a moment considering things, and is about to walk away when her father appears in front of her.

MALCOLM

Hello, Sweetie, how are things going?

MISS MONROE

What's with the saccharin?

MALCOLM

Pumpkin?

MISS MONROE

Days ago you were playing 'Distance yourself from your daughter'.  Now it's 'hey sweetie, how are things going'?  Make up your mind Daddy.  Until you do, let me do my job.

Monroe tries to push past Malcolm, but he grabs her arm, and from the expression on her face, we can see he has quite a grip.  With difficulty, Monroe shakes him off, and stalks away, heels clicking.  Malcolm looks after his daughter in surprise.

INT – ROSCHELLE'S LAB – DAY

ROSCHELLE

Could you repeat that? I don't think I heard you right.

MISS MONROE

I want you to give me your old case files on the Prodigies.

ROSCHELLE

Miss Monroe, you have all the files.

MISS MONROE

I know you, Roschelle.  I know how you work now, and I doubt it was any different back then.  You keep your own files.  I want to see them.

ROSCHELLE

(coldly) 

They're not for you to see.

MISS MONROE

Wake up and smell the ultimatum, Roschelle.  Rooney's not just here to get the Prodigies back, he's determined to trim some of the fat.  And as much as I don't want to lose any of this team… I don't want to be trimmed myself.  To avoid that, I need your files.  

EXT – OGDEN PUBLIC LIBRARY – DAY

A large and impressive red brick building has a sign saying _Ogden City Library_ outside.

INT – READING ROOM – DAY

Justin sits at a computer, scrolling through news items on microfiche.  He leans forward, and we CLOSE IN on the headline he's reading.

LOCAL WOMAN SURVIVES ACCIDENT (this headline relates to Miss Monroe's mother, Grace)

Engrossed in his reading, Justin doesn't notice Uno come up behind him.

UNO

What ya reading?

Justin flicks the microfiche further across and he turns to face Uno.

JUSTIN

Just catching up on the news.

Uno leans forward and picks up two other rolls and reads the labels.

UNO

The Salt Lake Herald?  These things are twenty years old, J.

(suspiciously)

What are you up to?

Justin turns back to the machine and rewinds the spool.

JUSTIN

Nothing.  

(looks over his shoulder at Uno)

Nothing at all.

UNO

You can't fool me, J.  I know what you look like when you're planning something, and you are definitely planning something.

Justin smiles to himself as he pulls the microfiche roll out of the viewer and hands to Uno.

JUSTIN

Return these, and we'll get going.

UNO

Yeah, it's nearly time to chant 'homm' again.

Justin laughs and walks away, but Uno takes a closer look at the microfiche cartridge and the smile fades from his face.  He begins to stagger toward a seat, but doesn't make it there and falls.

Justin turns to see him hit the floor, he runs back to Uno's side as a crowd gathers around him.

JUSTIN

Excuse me, excuse me!  Let me through! 

Justin pushes through the crowd, and kneels at Uno's side.

JUSTIN

Uno!  Uno, can you hear me?

UNO

Hmmm?

JUSTIN

Can you move?

(whispers)

We should get out of here.

UNO

Mmm… okay.  

(grunts)

Urgh, help me up.  
  


Justin pulls Uno to his feet and pulls Uno's arm over his shoulder, slipping into a rescue carry.  Spectators watch, some in awe, some in surprise, as they leave. 

INT – PRODIGY APARTMENT – AFTERNOON

Trinity enters the lounge room and shuts the door quietly behind her.

TRINITY

(referring to Uno)

I gave him some more Cortozol.  He's sleeping now.

MERCEDES

We can't just keep doping him up like this, it can't be good for him.

JUSTIN

We've been doped up for a lot of our lives, Mercie.  A few weeks longer while we figure this out shouldn't do much harm.

TRINITY

Mercie's right, we need to come up with a permanent answer to this.  One that doesn't involve Uno using Cortozol every five minutes.

JUSTIN

How's the meditation going?

TRINITY

Good, but you know Uno.  He's an excitable guy.  It's not terribly easy for him.

JUSTIN

At the moment, it's the best chance we've got.

Mercedes leans back on the sofa and comes into contact with Uno's sweatshirt.

FLASH

A shadow Uno kees over, falls to the floor, clutches at his chest.  He lies sprawled on the lounge room floor, lifeless 

TRINITY

Mercie?  

MERCEDES

(Still shocked by the vision)

Hmmm?

TRINITY

Are you okay?

MERCEDES

Yeah… yeah, I'm fine…

She gets up and wanders out of the room.  Trinity and Justin watch her leave, then share confused expressions.

JUSTIN

What was that about?

TRINITY

(spotting Uno's sweatshirt)

I think psychic-sister had a vision.

JUSTIN

She's been shutting herself off from it.

TRINITY

Sometimes defences can fail.

JUSTIN

(picking up Uno's shirt)

Could you duplicate the vision?

TRINITY

Maybe.  But why not ask her?

JUSTIN

Might be better if I knew what to expect.

TRINITY

J, she's your sister.  She's not gonna lie to you.  Go ask her.

JUSTIN

But, what if – 

TRINITY

Go!

Trinity points her finger in the direction Mercedes went, and Justin gets up resignedly, before leaving the room.

Trinity looks over at the sweatshirt and reaches out toward it…

CUT TO: EXT – MISS MONROE'S HOUSE – NIGHT

MISS MONROE (VO)

Hello?

INT – LIVING ROOM – NIGHT

Miss Monroe wears a long silky bathrobe over pyjamas.  The lights are dimmed, but a bright reading lamp is beside her, along with numerous files and papers on the coffee and table and in her lap.  She holds a cordless phone to her ear.

This scene INTERCUT WITH 

INT – JUSTIN'S BEDROOM – NIGHT

Justin sits at his desk, also surrounded by papers, most of them lab reports.  He's speaking on a landline, rather than on his cell.

JUSTIN

Monroe, it's me.

MISS MONROE

So what's going on?

JUSTIN

Meet me at the Sunny Stone Motel, Layton.  Two nights from now, at 8pm.

MISS MONROE

And then what?

We CLOSE IN on Justin's hand, which holds a driver's license with Miss Monroe's picture on it.

JUSTIN

I have some papers for you.  A new identity.  The old you can disappear from the face of the earth.

Tears appear in Miss Monroe's eyes, and her voice cracks slightly.

MISS MONROE

How can I thank you?

JUSTIN

You don't need to.

MISS MONROE

Justin… Fallen…

JUSTIN

Fallen won't find you.  No one from the Centre will ever find you.

MISS MONROE

He's working on finding you.  The Triumvirate is leaning on us very hard… they've sent a rep down.  I'm… worried about you.

JUSTIN

Don't.  We can take care of ourselves.  Cover yourself until you leave.  Play along, work as if you still want to catch us.

(he grins)

That shouldn't be too hard.

MISS MONROE

(she smiles)

Yeah, I guess.

A tension-loaded pause between the two of them.  Then,

JUSTIN

Well, two days time.

MISS MONROE

The Sunny Stone Motel, Layton.  8pm.  I'll be there.

Justin hangs up, and so does Miss Monroe.

INT – KITCHEN – NIGHT 

Uno hangs up the receiver of the extension he has been listening to Justin's conversation on and leans against the counter, arms crossed, deep in thought.

The kitchen scene turns to DAY, morning sun pouring through the windows.  The image of Uno dissolves, and Trinity walks into shot.  She is preparing breakfast, scrambling eggs, making toast, etc.  She places a plate down on the table.  Mercedes enters.

MERCEDES

That looks great!

TRINITY

Could you get Uno before you sit down?

Mercedes rolls her eyes, but leaves the room.  She passes Justin as he enters, sleepy-faced, hair tousled, in boxer shorts and a white singlet.

JUSTIN

Morning, Trin.

TRINITY

Morning.

She sets another plate of food on the table, right in front of Justin.  He looks down at the food, then up at Trinity.

JUSTIN

(jokingly)

I could marry ya.

Trinity turns back to the stove.

TRINITY

J, if you only wanted to marry me because you think I can cook, then you'd be sadly misled.  In fact, I think it would be the shortest marriage of all time.

JUSTIN

Why?

TRINITY

'Cause as soon as you found out the truth, we'd be divorced.

(clicks fingers)

Like that.

JUSTIN

(grinning)

Well, as long as we can live together platonically and you cook for me, I guess we'll make do.

TRINITY

(she points an egg flip at him)

As long as you keep doing the laundry, we'll be fine.

Mercedes enters the room, looking confused and holding a piece of paper.

MERCEDES

(uneasily)

Guys…

Trinity and Justin turn to Mercedes and instantly note her downcast face.

JUSTIN

What is it?

Mercedes hands the letter to him, and he reads it aloud.

JUSTIN

"I can't stay here, there's something I need to do.  I hope I'll see you again soon.  Stay safe, Uno."

Trinity snatches the letter from Justin to read it for herself, then begins moving her hands all over it.

MERCEDES

It's no good.  He must have worn gloves or something, there's no feeling, no emotion.

TRINITY

He wrote it in a hurry, that's obvious enough from the handwriting.

JUSTIN

No, his handwriting always looks like that.

TRINITY

(shaking her head in disgust)

Damn doctor-lawyer wannabes.

JUSTIN

Did he leave anything behind?

MERCEDES

I had a quick look around.  From what I can see, he took anything we might have remotely been able to use.

TRINITY

Damn it!  He can't afford to go off now, he still can't control himself well enough.

JUSTIN

Did he take the Cortozol?

MERCEDES

(nodding)

It's all gone.

TRINITY

So what are we going to do?

JUSTIN

(sighs)

Much as I hate to, I think we're going to have to leave him.  If there's nothing we can trace him with, and he wants to be alone… I think we're going to have to leave it.  He'll catch up with us soon enough.  He always does.

A final shot of Trinity, Justin and Mercedes in the kitchen, looking lost; the breakfast laying forgotten.

EXT – SUNNY STONE MOTEL – NIGHT

Text On Screen:         Sunny Stone Motel 

_ Layton__, __ Utah___

A seedy love motel.  The motel front features a bright, cheesy love heart in neon lights, surrounded by smaller lights that flicker on an off.  The name of the motel appears to be the _Sunny ton Mote_ because some of the lights spelling out the name have blown, leaving the spaces dark.

Miss Monroe parks her car at the curb and walks up the short driveway to a window marked "Reception".  A fat, greasy man

ERP ~ MALE ~ MID 40s

Attends Miss Monroe's summoning bell.

ERP

(wolf-whistles under his breath)

Hello, lady.  I'm Erp Neilson, Proprietor of this motel.  What can I do fer ya tonight?

MISS MONROE

(in disgust)

You can tell me where I'd find a young guy, probably checked in under the name Justin.

ERP

(understandingly)

Ah, a working night, is it?  Well,

(he checks the hotel register)

you'd probably find the young fellow in Room 5.

MISS MONROE

Thanks.

She walks away.  Erp leans forward to watch her walk, but when she rounds the corner, he leans back in his chair and sighs.

INT – ROOM 5 – NIGHT 

Silence and darkness.

We hear a heavy knock on the door.

MISS MONROE (OS)

(hissing)

Justin?  You in there?  Justin?

We CLOSE IN to see Miss Monroe's hand try the doorknob.  The door is unlocked and opens easily.  She steps inside, and flicks on the lights.

The motel is no better on the inside.  Miss Monroe's nose screws up as she surveys the grotty condition of the room.  We get the strong impression that this is not Monroe's type of motel.

Justin wanders out of the bathroom, wiping his hands on a guest towel.  He nods at Monroe.

JUSTIN

Monroe.

MONROE

Justin.

Justin inclines his head to gesture toward a small leather case on the bedside table.

JUSTIN

That's it.  It's all in there.

Monroe walks over, picks up the case and looks through it for a moment.

MONROE

How did you get all these made so fast?  Driver's license, Birth Certificate, Social Security card…

JUSTIN

(shrugs)

What can I say?  I don't like to reveal my sources.  But they're high quality.

MONROE

I can see that.

They stand facing each other awkwardly; again, the tension is almost tangible.

MONROE

Justin…?

JUSTIN

Mmm?

Almost without realising it, they have stepped closer to each other.

MONROE

Do you ever wonder…

JUSTIN 

If things had been different…?

MONROE

If we'd be in this…

JUSTIN

…position.  Yeah, I do.

They now stand face to face, only inches separating them.

MONROE

And?

JUSTIN

Maybe… maybe we'd…

Bright lights SNAP on OUTSIDE, streaming through the windows and flimsy lace curtains.  Almost instantaneously, the door is kicked in and three Sweepers in SWAT-like gear storm in.  They grab Justin, push Monroe aside, and throw him face down on the bed and cuff his hands roughly behind his back.  They pull him to his feet and drag him outside as Monroe watches.  As he passes, his eyes meet hers, and we CLOSE IN on the both of them: JUSTIN's hurt, eyes, screaming betrayal; and Monroe's, which glimmer with blinked-back tears and sorrow.  Justin is led outside, and Monroe stands still for a moment in the hotel room.  We watch as her eyes regain their ordinary 'hard as stone' look.  Then she turns and exits the room.

EXT – MOTEL INNER COURT – NIGHT 

Just outside the room, Justin is loaded into the standard black van.  Two of the Sweepers join him in the rear, adjusting his restraints to secure him to the car.  Miss Monroe gets in the passenger side, and the third Sweeper, still in his SWAT gear and mask, gets in the driver's seat, starts the van, and pulls out quickly, tyres screeching as he pulls out of the Motel and onto the road.

The van speeds away, and in the foreground with no chance of catching the van, Erp runs after it, yelling as loud as he can.

ERP

Get back here! Yer haven't paid yer bill!  Get back here!

INT/EXT – CENTRE VAN – NIGHT

MONROE

When we hit the highway, step on it.  We have a rendezvous with Fallen in an hour and a half.

SWEEPER #3 (DRIVER)

Yes, Miss Monroe.

We see various shots of the van travelling in the night, as well as individual shots of Miss Monroe sitting stoically in the passenger seat, and Justin leaning awkwardly against the interior of the van, studying the floor.

EXT – DESERT/RING-BARKED TREE – NIGHT

The van pulls up beside the tree. The Driver gets out and goes around the back to open the door.  Miss Monroe remains in the front, looking at the ring-barked tree.  

First, we only hear the disruption vaguely, but then we hear a gunshot ring out.  Monroe jumps out of the van, pulls her own gun, and walks around; only to end up nose to nose with Uno, dressed in the Sweeper's SWAT uniform.

UNO

Gun down, Miss Monroe.

Monroe lowers her gun.

UNO

Pass it here.  Finger and thumb only.

Uno holds out his hand, and Monroe hands it to him.  

UNO

(over his shoulder, not taking his eyes off Monroe)

J, you out of it all?

Justin jumps down from the back of the van, rubbing his wrists.

JUSTIN

Damn I hate handcuffs.

UNO

(nodding toward Monroe)

Put them on her and sit her in the back.

(to Monroe)

Wrists out, Monroe.

Slowly, Miss Monroe puts her wrists forward and Justin steps forward to handcuff her hands together.  He keeps his eyes downcast.

MISS MONROE

Well, this wasn't exactly how I was expecting it to end.

JUSTIN

It's still not over.

UNO

Looks like it never will be.

Justin leads Miss Monroe into the back of the van and sits her on the bench.  Uno hands him a gun.  Justin goes to turn away, but Uno puts a hand on his shoulder.

UNO

Watch her.

JUSTIN

(sarcastically)

No, I think I'll hand her the gun and let her capture us both.

UNO

(seriously)

You nearly let her.

Justin gives him a hard, almost dirty look, and gets in the back on the van with Monroe, leaving the doors open.  Uno turns and looks down at the two Sweepers lying unconscious on the sand.

UNO

I have plans for you boys.

CUT TO: EXT – RING-BARKED TREE – NIGHT

The two Sweepers have been stripped down to their underwear (singlets, briefs and boxers) and have been tied to each other, their arms encircling the tree.  Uno looks on with a hint of mirth, then turns as the sound of a car engine and the car headlight announce the arrival of Fallen.  Uno steps toward the open doors of the van and signals Justin.

UNO

Fallen. A, 75, Vector, C, H, 47.

Justin nods in acknowledgement.    

Fallen gets out of his car and closes the door behind him.  The van blocks his view of the ringbarked tree and the bound Sweepers.

FALLEN

Monroe?

(sharply)

Monroe!  

Fallen starts to walk around the van, on the other side we Justin and Uno moving into place to ambush him.

FALLEN

Where are yo – 

Fallen comes nose to nose with Uno's gun, looks up into Uno's face, and groans.

FALLEN

Oh, not again.

UNO

(smiling grimly down at Fallen)

Yep, again.

CUT TO: EXT – RINGBARKED TREE – NIGHT

Joining the two Sweepers, Fallen has also been tied to the tree, wearing only his boxers and singlet.

Fallen scowls up at Justin as Uno finishes tying him to the tree.

FALLEN

You won't get away with this.

JUSTIN

We already have.

FALLEN

Don't you understand?  This is where you belong.

JUSTIN

No, this,

(gestures to the tree)

is where you belong.

FALLEN

People will die if you don't come back.

Uno pulls the rope tight, and Fallen winces.  Uno walks around to look Fallen in the face.

UNO

We were dying in there.  They experimented on us, tried to kill us in the most imaginative ways they could think of – or haven't you read the files?  'People will die if we don't come back'?  Fine.  Just as long as it's not us.

Uno walks away, and Justin turns to Monroe, now leaning against Fallen's car.  Her hands are still handcuffed behind her back.

MONROE

So that's it?

JUSTIN

(shakes his head)

I wish it hadn't come to this.

MONROE

(sighs)

So do I.

UNO (OS)

(calling from the van)

C'mon, J, we have to get going.

MONROE

(looking up at Justin)

I guess I'll see you around.

JUSTIN

Maybe.

Justin walks away and gets into the van.  Uno starts the engine and pulls the car away.

Fallen and Monroe watch as the pair drive off.  Finally…

FALLEN

(sarcastic)

Nice plan, Monroe.

MONROE

(shrugs)

Was worth a try.

FALLEN

You wouldn't happen to have a knife?

MONROE

You wouldn't happen to have a lockpick?

Both sigh, and lean back against the tree/car.

FALLEN

Well, at least it can't get much worse than this.

MONROE

Oh yes it can…

CUT TO: EXT – PRODIGY APARTMENT – DAWN

Uno and Justin pull up outside the apartment block in a small, dark hatchback, it looks like they've ditched the van on the way.

UNO

You know, Trin and Mercie are gonna be pissed.

JUSTIN

(sighs)

Do they really need to know?

UNO

(gives Justin a hard look)

No secrets, buddy.  If you don't tell them, I will.  It would definitely sound better coming from you.

Justin sighs again. 

UNO

Anyways, I should go, you know me...

JUSTIN

Right. Yeah.

Justin gets out, and closes the door.

UNO

J, it'll be okay.

JUSTIN

You said it yourself.  They're gonna be pissed.

UNO

(shrugs)

It's life, J.  It always stinks.  Don't tell me you haven't figured that out.

Uno lapses into momentary seriousness and thoughtfulness.

UNO

Justin... I know you wanted to believe Monroe... And I know you try to see the good in people - but sometimes it's just not there, and you end up seeing something you only wish existed.

Justin pauses. He looks at Uno earnestly, his words impassioned.

JUSTIN

I'd rather die knowing I believed in something...

He looks and speaks pointedly to Uno.

JUSTIN

Then die empty...

UNO  
(guardedly)  
I'm not empty, Justin, I'm cautious. You can't trust anybody but yourself...

Justin begins moving back away from the car. He looks at Uno sadly, his words loaded with subtext.

JUSTIN

So at the end of the day... your alone.

He turns away and walks to the house. We see a single tear slip from Uno's eye.

UNO  
(barely whispered)

Yeah...

Uno drives away, and Justin walks toward the front door of the building.

CUT TO: INT – PRODIGY APARTMENT – DAWN

Justin opens the door into the apartment only to be met by Mercedes and Trinity who sit side by side in kitchen chairs; both have crossed their arms over the chests.

TRINITY

Where did you get to last night?

MERCEDES

We were worried.

JUSTIN  
I have to tell you something.

CUT TO: INT – LOUNGE ROOM – EARLY MORNING

Mercedes sits quietly on the sofa, while Trinity paces angrily.  Justin leans against a wall, looking defeated..

TRINITY  
(exasperatedly)

And Uno knew what you were doing?

JUSTIN

Not until the last few days. He didn't know I had been in contact with her previously, though.

TRINITY

Why didn't you tell _us_?  We could have helped.  We're not damsels in distress.

JUSTIN

I was just going to give her ID, Trini.  Help her – 

TRINITY

You leapt to her aid without looking, and you made me wait to help Luke.  

JUSTIN

I was trying to learn from my mistakes!

TRINITY

(heated)

You don't know her!  How could you – 

MERCEDES

(softly)

Trini, it's okay.

TRINITY

It's not okay, Mercie.  He put himself and us in danger.

Mercedes remains calm and quiet, but we see that she is deeply hurt. After a long pause, she sighs and stands.

MERCEDES

They're sure to figure out that we're local - lets get moving.

Trinity looks at Mercie, then Justin defiantly; before storming from the room.  Mercedes remains seated, gazing at the floor.

Justin looks at Mercedes sadly, then sits down next to her on the couch, and puts and arm around her.

JUSTIN

Merce, I'm sorry.

MERCEDES

I can't believe you didn't tell us.

JUSTIN

I… Mercie, there's no excuse for keeping it from you.  I didn't think you'd approve.

MERCEDES

(stiffly)

Obviously, we don't.

JUSTIN

I don't know why I do it, I just… there's something there.  I was learning about them, about what they're doing.

MERCEDES

So I guess you won't be talking to her anymore?

JUSTIN

I guess not.

MERCEDES

And if you did?

JUSTIN

I'd tell you.

Mercedes leans into the curve of her brother's arm, and they sit quietly as we PULL AWAY.

NEXT WEEK ON PRODIGY… 

FILE 1.18 – TORN

Luke is torn between his vague memories of Trinity, and his new life at Centre 16... As the danger of recapture looms imminent, Justin decides to disband the group...


	18. 118 Torn

** FILE EIGHTEEN – Torn  
(Screenplay by Vokal)**

WIDE on an apartment building.

**Text On Screen:   
Los Angeles, California**

JUSTIN (O/S)  
(serious, almost devastatingly)  
I will not accept that assumption Uno

INT - PRODIGY APARTMENT - NIGHT

Justin and Uno sit in the lounge room in front of the television. Uno has a bag of chips that he is crunching noisily, while Justin holds two DVDs up - The Matrix and The Last Samurai, waving them enthusiastically in the air as they argue.

UNO  
Deny all you want, Justin, but The Matrix is and always will be a far superior film to 'The Crappy Last Samurai'.

JUSTIN  
You are so full of it. You can not even compare the two.

UNO  
Crappy Samurai is just a chick-flick with swords

JUSTIN  
Listen to me, _Uno_, Crappy Sa... The Last Samurai is _about_ something - duty, honour, love

UNO  
Yer, and The Matrix is about something too - reality, illusion, destiny, gunfire

Justin snorts in disagreement.

UNO  
(shaking his head)  
You simply can not prefer Tom Cruise to Carrie-Anne Moss... (biting into a chip and looking at Justin challengingly) I won't let you.

A wry smile pulls the corner of Justin's mouth up as he takes The Last Samurai out of it's case. Mercedes walks into the lounge carrying a bottle of coke and a bowl of candy and shakes her head at the two guys, smiling.

MERCEDES  
You two are tragic, really. Whilst our very freedom hangs in the balance you continue to argue the merit of movies. I'm quite sure the only reason you are still here Uno is to carry on the argument over whether or not Terminator 3 exceeded it's predecessors.

Uno raises a pointed finger at Justin as if to silence him. Justin closes his mouth and screws up his face.

UNO  
You _know_ I'm right about Terminator.

Mercedes settles down on the couch between the two boys. Trinity enters dragging a Zebra-print bean bag behind her.

TRINITY  
Speaking of Terminator (she holds up the Terminator DVD)

UNO  
(protesting)  
Hey! But Justin wanted to watch Tom cruise in a dress...

Trinity rolls her eyes at him and then puts the DVD in. Absently she turns and yells toward the hallway.

TRINITY  
Luke! We're starting the...

Almost as soon as she starts speaking a realization creeps over her face and she halts, drawing in hard breaths as tears well in her eyes. She furrows her brow, leaps to her feet and runs out of the apartment.

The others look on sadly. Both Uno and Justin go to get up to follow but Mercie halts them.

MERCEDES  
I'll go

EXT - CITY STREET - NIGHT

Mercie walks out onto the street, her eyes darting about in search of Trinity. She sees her walking away from the apartment, her arms hugging her body protectively.

MERCIE  
Trinity! Trinity wait...

Trinity turns around sadly. Mercie catches up. They sit on a park bench for a moment in silence before Trinity, her eyes staring blankly out onto the street, speaks.

**MUSICAL TRACK: '**Here Without You' by 3 Doors Down (Make sure you right click and open in a new window) (click here to listen)

TRINITY  
It's been so long, and I know he's gone, you know. But... sometimes, sometimes I just forget.

MERCEDES  
I know what you mean. Everyday I half expect to wake up and see Dina in the kitchen trying to cook breakfast or laughing with Justin over the comics in the paper. It's just a normal human reaction I guess.

TRINITY  
Will it ever go away?

MERCEDES  
I don't think so. But it will get better. I mean, it has to, right?

TRINITY  
(sadly, as tears slip down her cheeks)  
Yeah. But it hurts. To know that he doesn't... he doesn't think about me, he doesn't _remember _me. Sometimes I think that that would be better - that he has it easier. He doesn't know what he's missing... but I... It just hurts, you know?

MERCEDES  
Yeah, I know.

She leans over and hugs Trinity, Trinity sobs, her cries muffled by Mercie's shoulder.

EXT - CENTRE 16 - NIGHT (Musical track continues)

The stars glitter in the cloudless sapphire desert sky. A lone sentinel, the ring barked-tree stands vigil some distance from the large cement building. A slight breeze stirs tuffs of grass peeking through the cracked, dry ground surrounding the neat strip of fake-looking bright green turf circling Centre 16.

INT - SUB LEVEL 9 CENTRE 16 - NIGHT (Musical track continues)

**Text On Screen:   
Sub-Level 9  
Centre 16  
Salt Lake City, Utah**

A fluorescent light flickers ominously, a faint buzzing sound reverberating down the long hall. LUKE walks almost listlessly down the empty corridor, passing each large metal door with red numbers painted on them, 1 through 10. His fingers trace the outline of the number seven, before he turns back to the door marked '3'.

He swipes a card and a green light flashes. He pulls the door open, it's hinges protesting loudly.

Inside are numerous photos of Trinity as well as her belongings scattered in crates about the small storage room.

Emptying a crate, Luke turns it over and sits on it, slowly sifting through the contents now scattered on the floor.

He picks up a Creed CD and smiles

FLASHBACK 1.09 - Ho, Ho, Who

Trinity pulls a case that jewellery comes in from the bag, and looks at Luke, a mixture of happiness, delight, surprise and shock on her face.

LUKE  
Well I was going to get you the new Creed CD, but I had heard that it just didn't live up to 'Human Clay', so...

Trinity opens the box to reveal a silver ring and pendent, decorated by small silver flowers with tiny diamonds as their centres.

Trinity looks up at Luke, a smile spread across her face and tears almost welling in her eyes.

END FLASHBACK

He puts the CD down and picks up a shirt, holding it to his face, feeling its softness under his skin. He has several flashbacks to kissing Trinity/touching her skin.

Luke takes an enlarged surveillance photo of Trinity from the pile and traces his fingers down her face gently. Tears spill from his eyes and slide down his cheeks.

CAMERA spins around him, and we see many objects relating to Trinity that have been collected by The Centre over time.

Luke buries his head in his hands and cries.

_**OPENING CREDITS**_

From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…

EXT - CENTRE 16 - DAY

WIDE on centre 16.

**Text On Screen:   
Centre 16  
Salt Lake City, Utah**

INT - MISS MONROE'S OFFICE - DAY

Miss Monroe is bustling about her office with a can of air freshener. JC enters, a confused look on his face.

MISS MONROE  
I am _never_ going to get the stench of Fallen out of this office.

JC chuckles.

JC  
Well at least Rooney's gone.

Miss Monroe continues spraying.

MISS MONROE  
(muttering to herself)  
I'm going to have to relocate... I wonder if I can move the air-cooler.

JC's smile widens, before his face becomes serious again.

JC  
Monroe, was there a briefing this morning, about a security breach?

Monroe turns, her interest peaked, and her concern over her office now suddenly forgotten.

MISS MONROE  
No, why?

JC  
I was woken up last night to the sound of the code 17 alarms...

MISS MONROE  
The alarms that signal an escape attempt...

JC  
Yeah. No-one's said anything?

MISS MONROE  
(narrowing her eyes)  
No... But they will...

She storms from her office determinedly.

INT - CALVIN'S OFFICE - DAY

Miss Monroe and her father are arguing. Calvin and Roschelle are also in the office, Calvin looking discernibly disinterested, as usual.

MISS MONROE  
(her voice raised)  
What do you mean 'need to know only'?

MR MONROE  
Exactly that. Those who needed to know, know, therefore you obviously didn't need to know.

Miss Monroe narrows her eyes at him.

MISS MONROE  
When one of the subjects tries to escape, I _need_ to know. Especially when that subject is presumably under our control...

MR MONROE  
It's irrelevant now. Seven was returned to renewal wing and the flaw has been corrected. He is now fully functional.

MISS MONROE  
Funny that I don't find that comforting

Miss Monroe turns to Roschelle.

MISS MONROE  
What do you think Roschelle?

ROSCHELLE  
I have already expressed my opinions on this matter to your father. I do not believe that Seven is mentally or emotionally fit to be of service to the centre. His feelings for Subject o-three are triggering memories. I fear this recent procedure at renewal wing will only serve to exacerbate the problem.

At this, Calvin interjects.

CALVIN  
Quite the contrary, Doctor, preliminary reports suggest that the new procedure, while not being completely successful, has indeed worked to our advantage. Seven has memories of Three, but he does not _remember_ her. (He shrugs) This has caused a delusion that she is in fact, evil and possessing him. He longs to hunt her down and kill her.

Miss Monroe narrows her eyes again.

CALVIN  
That will be all. You are excused  
(He motions to Roschelle and Miss Monroe, before turning to Mr Monroe)  
A word before you leave, Malcolm.

Roschelle and Miss Monroe leave disgruntledly, while Malcolm remains seated coolly, an eyebrow raised. Calvin stares disinterested out the window toward the desert.

As soon as Miss Monroe and Roschelle are gone, Calvin almost lunges at Malcolm, his face angry.

CALVIN  
How dare you disobey a direct instruction! I told you that Seven was not to be returned to Renewal Wing, and yet you defy me?

MR MONROE  
I did what I believed to be in the best interests of the project.

CALVIN  
I does not matter what you believe, _Malcolm_, it matters what I tell you to do.

MR MONROE  
Your judgment of the situation was incorrect and potentially disastrous. I dealt with the situation in the matter I deemed most fit - disobeying your order for the betterment of The Centre.

CALVIN  
I am in charge around here - it's best you deal with that fact in a timely manner. Make no mistake - I will take action against you.

Mr Monroe tilts his head to the side.

MR MONROE  
(somewhat falsely)  
I apologize, Calvin. I did not mean to impugn your authority. It will not happen again.

CALVIN  
(threateningly)  
See that it doesn't it.

MR MONROE  
Although you said so yourself, the situation has been advantageous.

Malcolm leaves, Calvin turns back to the desert, his face hard.

INT - PRODIGY APARTMENT - DAY

Trinity and Uno sit in the lounge room meditating, Uno balancing precariously on one palm, the rest of his body suspended mid air. Mercedes is fixing Trinity's motorcycle in the kitchen. Justin exits the bathroom, wearing jeans and no shirt, toweling his hair dry.

JUSTIN  
Merc, that's a kitchen, not a garage.

MERCEDES  
Well next time let's get an apartment with a garage...

Justin flicks Mercedes with the towel and she yelps.

Distracted, Uno crashes to the ground.

UNO  
Great, just great.

Trinity smiles, still in a calm state.

TRINITY  
You must learn to distance your mind... to separate yourself from your surroundings.

UNO  
(sarcastic)  
Well, sorry Obi-Wan, but if a guy could get a little peace around here... (he looks pointedly to Merc and Justin in the kitchen)

A shadow falls over Trinity's face and Uno immediately regrets the Star Wars reference.

UNO  
Hey, Trin I'm sorry, I didn't mean to...

Trinity smiles sadly.

TRINITY  
No, it's okay... (she pauses) I'm just gonna go... have a shower.

She gets up and leaves, Uno looks sad.

Suddenly there is a knock on the door. Mercedes, Justin and Uno glance toward it simultaneously, fear evident on their faces.

Putting a T-Shirt on, Justin walks slowly toward the door.

JUSTIN  
Who is it?

There is no answer. He turns back to Mercie and Uno.

UNO  
Well, The Centre wouldn't knock...

Justin pulls the door open to reveal a deserted corridor. He looks to the ground to see a large envelope. Justin picks it up, taking one more look around before closing the door.

He walks back into the lounge, where both Uno and Mercedes now are, ripping the top of the envelope open. He pulls several photos from the envelope and a note that reads:

I have information. LA International airport lounge. Today, 4pm.

He hands the letter to Uno and turns his attention to the photos, a look of horror crossing his face. We see they are enlarged satellite photos of Dina being forced into a military-looking vehicle in convoy. He flicks through them, each a different angel and shot, showing a span of time. We see one of Dina's mother laying face-up on the ground, a bullet hole in her head. As he flicks through them he drops them on the ground, Uno picks them up and studies them. Mercedes, from the other side of lounge room, looks on worriedly.

MERCEDES  
What? What is it?

Uno flicks a photo over to Mercedes.

UNO  
It's Dina... she's in trouble.

Mercedes looks at the photo and instantly drops it to the ground, covering her mouth with her hand, stifling a scream.

Justin drops the last photo to the ground, it floats down in SLO-MO. We see an enlarged photo of Dina, looking frightened as she is shoved into a van.

INT - PRODIGY APARTMENT - DAY

The gang sit around the table - Trinity sitting on it at the end, Uno leaning against a wall casually and Merc and Justin sitting across from each other.

TRINITY  
I say we go. We can't leave Dina on her own - not like Luke. We can't let that happen again.

JUSTIN  
We shouldn't rush into anything until we know more. My question is - if the Centre doesn't have her, who does?

UNO  
I think I know...   
(everyone turns to look at him)  
When we broke into Dynalabs, Annabelle said she knew what I was, but I got the feeling she was talking about something bigger than Prodigy...

MERCEDES  
You think she's at Gradoi?

UNO  
No, they wouldn't hold her there...

MERCEDES  
Then where is she?

TRINITY  
We don't know - that's why we've got to meet whoever it is that wants to meet us...

EXT - RING-BARKED TREE - DAY

Miss Monroe stands underneath the tree smoking. JC approaches shuffling his feet and his hands in his pockets.

JC  
They're bad for you know.... Lung cancer

Miss Monroe sighs.

MISS MONROE  
I have an ultimatum to recapture 9 escaped geniuses who have so far eluded us - in three months or I'm dead - Tell em why I should be worried about lung cancer?

JC  
I see your point.

They stand in silence for a few moments longer, JC shifting and fidgeting as always.

MISS MONROE  
It should be dead you know... this tree.

JC glances at Monroe.

MISS MONROE  
The tissue that conducts water and nutrients has been removed. It's supposed to be dead, but it's still alive.

JC  
Like your father.

MISS MONROE  
Like my father...

JC  
He wants to see you in his office...

MISS MONROE  
Thanks JC.

She throws the cigarette on the ground and grinds her foot over it perhaps a little too violently.

INT - LOS ANGELES INTERNATIONAL AIRPORT LOUNGE - DAY

People bustle around the lounge carrying coffee and suitcases. Justin enters, walking through the metal detectors. He sees Agent Rowan Cade sitting at a table in the far corner. Justin furrows his brow and looks around the lounge again, slightly panicked.

He touches his comm unit.

JUSTIN  
It's Cade, the FBI agent. Can you girls see any other agents around? We may be walking into a trap...

We see Trinity sitting on a seat nearby, newspaper in hand. Her eyes dart around quickly.

TRINITY (into comm unit)  
Nope... all clear from my view.

MERCEDES (over comm unit)  
Same here.

JUSTIN  
What about you Uno?

We see Uno walking past the lounge dressed as a security guard and wearing a very large black moustache and a long-haired wig.

UNO  
Negative, amigo.

JUSTIN  
(drawing in a long breath)  
Okay, I'm going in.

Justin walks into the lounge and sits down at the table with Cade. Cade looks at him grimly.

CADE  
I wasn't sure if you'd come.

JUSTIN  
After the great visual aids you left us...

CADE  
(getting straight down to business)  
Look, I don't know who... what you people are, or what you're involved in, but I want to help her, and the more I know, the safer you all will be.

JUSTIN  
We don't need you to protect us, Agent Cade. What we need to know is where Dina is being held...

CADE  
Dina...

Cade looks thoughtful for a moment before sliding a folder across to Justin. Justin opens it to reveal blueprints and more satellite photos.

CADE  
She's being held at a research facility just outside the city by an organization known as The Association. The FBI doesn't have much on them, but all I could get is in that folder.

JUSTIN  
(to himself)  
What would they want with her?

CADE  
I don't know. Look, I need to know what's going on here... who are you?

Justin goes to speak but stops himself.

JUSTIN  
Thank-you for the information, Agent Cade.

He stands and goes to leave.

CADE  
I want to help...

Justin pauses for a moment, as if considering.

JUSTIN  
(his tone harsh)  
You want to help? Don't contact us again... you'll lead them straight to us.

CADE  
Lead who?

Justin walks away, leaving Cade confused and disheartened.

INT - MR MONROE'S OFFICE - DAY

Miss Monroe opens the door slowly, Mr Monroe looks up from his paper work.

MR MONROE  
Ah, hello pumpkin.

MISS MONROE  
What did you want?

MR MONROE  
I know you have questions, sweetheart. I'm going to try and answer them as best I can.

Miss Monroe narrows her eyes suspiciously.

MISS MONROE  
Okay... why did you let us think you were dead?

MR MONROE  
After the subjects escaped... after the project failed, Rooney was sent in to evaluate. My life was in jeopardy. During an attempt at reclaiming Subject Seven, he shot me. My injuries were substantial, but I survived. I let the Centre think I was dead, until I had some sort of leverage, something to barter my way back into the Centre.

MISS MONROE  
That's why you assumed the identity of The Captain.

MR MONROE  
Yes. I hoped to recapture the subjects and use them as a bargaining chip.

MISS MONROE  
So why did you tell me to come to Utah and finish your work?

MR MONROE  
Project Prodigy is more than just another Centre research project, pumpkin. It's an initiative that will revolutionize the world. What these kids can do is incredible - and who ever controls them, controls the way the world is changed. It's our project, sweetheart. The Monroe's. Yours and mine and your mother's. I needed you here to keep the Monroe name alive, to make our presence felt until my return.

Miss Monroe nods slowly, her eyes filling with tears.

MISS MONROE  
You could have told me... you could have told us you weren't dead...

Mr Monroe moves toward Miss Monroe and hugs her, the motion seeming somewhat mechanical, but emotion nonetheless.

Tears stream down Miss Monroe's face. Over Miss Monroe's shoulder, we see that her fathers face is cold, impassive.

The phone interrupts their moment. Mr Monroe picks it up, his face emotionless. Hanging it up again he turns to his daughter.

MR MONROE  
We've got a location on a group of subjects - Security cameras in the Los Angeles international airport have identified 06 and three other possibles.

MISS MONROE  
Let's go!

The two head out the door hurriedly.

EXT - RESEARCH FACILITY - NIGHT

**MUSICAL TRACK:** 'Ready Steady Go' by Paul Oakenfold (Make sure you right click and open in a new window) (click here to listen)

Justin, Mercedes, Trinity and Uno, all dressed in black, stalk the perimeter of the facility.

Uno attaches cables to the fence and Justin cuts out a square.

Trinity slips under gracefully, running toward a guard. She holds up her hand, obviously using her empathic manipulation. The guard stands still, staring straight ahead. She nods to the others, who follow.

The round the facility to a loading bay. Mercedes and Trinity knock out the security guard and a few workers.

Uno plugs his laptop into a the computer terminal in the loading bay office. We see him hack into the facility's mainframe, accessing the files that show where Dina is being held.

Justin stands guard near him.

UNO  
She's being held on level three, Lab 12.

TRINITY  
Let's get her back...

UNO  
Right, I'm looping the security feed (clicks a button flamboyantly) now!

Justin and Mercedes move out, followed by Trinity.

TRINITY  
(to Uno as she leaves)  
Be careful.

Uno smiles roguishly.

UNO  
Aren't I always?

Uno stays behind while the other three move out.

Trinity, Mercedes and Justin run down a corridor, finding a flight of stairs they climb up until the see a door marked '3'.

They bust the door open and run toward Lab 12

Trinity stands guard at the door while Mercie and Justin runs in, knocking out a Lab tech. Mercedes looks up in horror to see Dina suspended in a large glass tube full of a crystal-looking gel. Several air tubes run to her nose and mouth.

Mercedes rushes to the controls and looks at them confusedly.

Justin joins her, but they can't figure out what to press.

Mercedes grabs a metal stretcher an throws it at the glass, which shatters, the gel oozing onto the ground.

Mercie picks up Dina, pulling the tubes from her mouth and checking if she was breathing.

MERCEDES  
She's okay...

Jusitn nods and picks her up, carrying her in his arms. Mercedes and him run out of the Lab to join Trinity. Uno's voice crackles over the comm unit.

UNO  
(over comms)  
We've got company... Lot's of it.

INT - LOADING BAY - NIGHT

From Uno's Point-Of-View we see several military-type vehicles pull up.

UNO  
You won't be able to get out this way... you'll have to take the drainage tunnels in Sub-Level 4...

Uno packs up his laptop.

INT - THE FACILITY - NIGHT

JUSTIN  
Okay, head to the extraction point, we'll meet you there.

Trinity, Mercedes and Justin (carrying Dina) run down the corridor and down the stairwell.

They hear footsteps above them and Trinity casts a glance back to reveal they are being pursued by several guards.

She stops as the others continue on and starts to fight the guards, trying to slow them down. There are too many and she becomes overcome, jumping over the rail and onto the flight of stairs below, just behind Justin, Mercedes and Dina.

Justin busts the door open to Sub-Level 4 and they are greeted by a dark, foul-smelling room. Mercedes pushes the door closed and locks it.

EXT - TREES NEAR THE FACILITY - NIGHT

Uno stands cautiously by a black van, waiting for the others to arrive. We hear a chopper and Uno looks to the sky to see a Centre helicopter coming into land.

UNO  
(into his comm unti)  
We've got Centre operatives! Justin do you read?

INT - DRAINAGE TUNNELS - NIGHT

JUSTIN  
We're on our way!

The gang make their way through the tunnels.

EXT - TREES - NIGHT

A spotlight illuminates Uno just as the Centre chopper lands. Several perimeter guards shoot at him, the bullets hitting the van as he takes cover.

We see petrol begin to spill on the grass, and Uno takes off just as another bullet hits the van and it explodes.

UNO  
Justin, we've lost our wheels!

The sweepers get out of the chopper and begin returning fire to the guards. We see Miss Monroe, Mr Monroe, and Fallen get out of the chopper.

MISS MONROE  
This is a freaking war zone!

MR MONROE  
(yelling to the Sweepers)  
Just get those subjects!

EXT - DRAINAGE TUNNEL EXIT - NIGHT

Trinity, Mercedes and Justin (carrying Dina) exit the tunnel, Uno is there.

UNO  
What do we do?

At that, a van pulls up beside them, the gang launch into defensive stances, but the door opens and we see that it is Cade.

CADE  
Get in!

The gang jump in and the van speeds away, leaving the Sweepers and guards shooting behind them.

INT - HOSPITAL - DAY

Dina lays in a hospital bed weak but awake, breakfast on the table in front of her.

Trinity and Mercedes sit around, as well as Cade, and Uno is picking at Dina's breakfast tray. Justin enters dressed as a Doctor.

JUSTIN  
How are you feeling?

DINA  
I've been better... been worse too. (she looks sad) I don't know what they wanted me for... I was out of it most of the time.

JUSTIN  
That's okay, you're alright, that's the main thing.

DINA  
And what about mom?

Justin shakes his head sadly and tears slip form Dina's eyes.

DINA  
She died because of me...

TRINITY  
I'm quite sure she would have rather died because she knew you, rather than not have known you at all.

Dina nods slowly. Justin smiles sadly.

JUSTIN  
Anyway, I need to see you all outside for moment, lets give Dina some rest.

Uno, Trinity and Mercedes leave the room, Uno taking the tray of food with him. Cade looks up at Dina.

DINA  
I can't tell you what's going on. It's best if you don't know me - know us - know anything about us. I mean, look what happened to my mom...

CADE  
I can help you...

DINA  
(sadly)  
No-one can help us now...

CADE  
What do you mean?

Dina closes her eyes and puts her head back against the pillow. Cade gets up to leave but she calls him over to her.

DINA  
Cade...

He walks up beside her and she grasps his hand.

DINA  
Thank-you...

Her eyes close again and Cade leaves the room.

INT - HOSPITAL CORRIDOR - DAY

Cade walks past the others and they smile. Justin shakes his hand.

JUSTIN  
Thank-you

UNO  
Yeah, thanks man.

Cade smiles sadly.

CADE  
I hope you know what you're doing - that you can do this alone.

He nods knowingly and they all look contemplative as he walks away.

Justin turns to the others.

JUSTIN  
Things are starting to get pretty tough... I've been thinking... I think we should split up.

Mercedes looks shocked.

JUSTIN  
And we shouldn't tell each other where we're going - that way if one of us is caught, the others will still be safe.

MERCEDES  
Justin, no...

JUSTIN  
Merc, I know, I don't want to do it either...

TRINITY  
Then don't...

JUSTIN  
We have to...

Uno remains silent.

JUSTIN  
We're not always going to be able to get away, you know...

Tears run down Merc's face.

TRINITY  
It's right now, when things are at their worst, that we need each other the most...

JUSTIN  
Trinity I've thought about this, and it's for the best...

MERCEDES  
When? When do we leave?

JUSTIN  
(tears stinging his own eyes)  
Tonight

Mercedes cries, Trinity looks angry and Uno remains impassive.

EXT - BUS STATION - NIGHT

**MUSICAL TRACK:** 'Goodbye To You' by Michelle Branch (Make sure you right click and open in a new window) (click here to listen)

Rain beats down heavily.

Trinity hugs Mercedes, Dina moves forward and also hugs her. Uno pats her on the head and touches her cheek affectionately.

Justin hugs Mercedes, tears streaming down their faces. She gets on the bus, it drives away, it's tires splashing up sprays of water.

Trinity almost glares at Justin as he turns away, climbing into his new jeep. Dina hops into her own car sadly. They drive away, leaving Uno and Trinity standing alone on the bus platform.

Uno turns to Trinity and squeezes her hand, before turning around, his long leather coat flicking out behind him, he runs a hand through his hair to spike it up again after the rain matted it to his head.

Trinity is left alone on the platform, the rain falling down on her in a steady chant, in rhythm with her tears.

THE END 

NEXT WEEK ON PRODIGY - 1.19 - Tic Tac Toe Part One - Against the wishes of Justin, Uno enlists Trinity's help to investigate a new C16 operation 'Tic, Tac, Toe'...


End file.
